“The strangest lp in the UE Antwerpian archival series so far! Recorded on christmas eve in 1980 by visual artist and general lune Bruneau, who is illegal about everywhere on this planet, and his pals Tom Van den Broek, Ewald Van Dyck and Jan De Pauw, at the time all creating trouble in the Antwerp scene around the legendary punk/glam basement Cinderellas Ballroom, Café Tom Tom (and Radio Centraal), Café De Mok and so on! The same puddle Ze Barbies were swimming in!
B.P. was rather ambitious in theory, though besides a cassette recording, a stamp, one radio show on Radio Centraal and a list of members (which comes with this lp!) nothing really happened, B.P. was short for a lot of name combinations, such as "Bedrukt Papier" (translated "Printed Paper"), which should have been a fanzine made by these members (which never happened), nobody seems to remember other names, though the original logo also seemed to be the original logo of the British oil and gas multinational, what a coincidence!
Musically this could be a mix of a background tape of Ghedalia Tazartez, and a Trip Hop band recorded by Heath Moerland from the other room of where the actual band is fucking around with self glued record loops, early scratching, and beer bottles!
limited to only 150 copies, comes in a full color silkscreened fold open cover with archival photos of all members, a member list and a small UE sticker.” - Ultra Eczema.

"Ltd. 30 copies. Sounding like a cross between Homosexuals offshoot Amos and Sara and Say Yes To Apes, this 8 track 10” (plus zine) is the first proper release from the vast archives of Dunedins mysterious Baa Baa duo of Mark Williams (Marineville, Cookie Brooklyn) and Tenzin Mullin (Suka)." -Epic Sweep. Men Of Constant Rhythm by Baa Baa and The Black Sheep

"Baba Commandant and the Mandingo Band are a contemporary group from Burkina Faso. Coming from Bobo-Dioulasso, the group is steeped in the Mandingue musical traditions of their ancestral legacy. The enigmatic lead singer Baba Commandant (Mamadou Sanou) is an original and eccentric character who is well respected in the Burkinabe musical community. A sort of punk Faso Dan Fani activist for traditional Mandingo music, Baba continues to redefine the boundaries between traditional and modern. In 1981, he joined the Koule Dafourou troupe as a dancer. Later, he embarked on his current musical direction as a singer, first in Dounia and then in the Afromandingo Band. His current band -- when hes not playing with the now-famous Burkinabe musician Victor Deme -- is the Mandingo Band. At present, he is a practitioner of the Afrobeat style, drawing inspiration from the golden era of Nigerian music. Fela Kuti/Africa 70 and King Sunny Ade are big influences, as is the legendary Malian growler Moussa Doumbia. Baba Commandant plays the ngoni, the instrument of the Donso (the traditional hunters in this region of Burkina Faso and Mali). His audience comprises multiple generations and strata of Burkinabe society; he accordingly adapts his repertoire to his surroundings, which range from cabaret Sundays in Bobo-Dioulasso to the sound systems of Ouagadougou. Baba Commandant and the Mandingo Band are a formidable force steeped in Ouagadougous DIY underground musical culture. Juguya is their sound. Limited edition LP housed in a Stoughton tip-on sleeve." - Sublime Frequencies.

"Baba Commandant and the Mandingo Band are a contemporary group from Burkina Faso. Coming from Bobo-Dioulasso, the group is steeped in the Mandingue musical traditions of their ancestral legacy. The enigmatic lead singer Baba Commandant (Mamadou Sanou) is an original and eccentric character who is well respected in the Burkinabé musical community. A sort of punk Faso Dan Fani activist for traditional Mandingo music, Baba continues to redefine the boundaries between traditional and modern. In 1981, he joined the Koule Dafourou troupe as a dancer. Later, he embarked on his current musical direction as a singer, first in Dounia and then in the Afromandingo Band. His current band -- when hes not playing with the now-famous Burkinabé musician Victor Démé -- is the Mandingo Band. At present, he is a practitioner of the Afrobeat style, drawing inspiration from the golden era of Nigerian music. Fela Kuti/Africa 70 and King Sunny Adé are big influences, as is the legendary Malian growler Moussa Doumbia. Baba Commandant plays the ngoni, the instrument of the Donso (the traditional hunters in this region of Burkina Faso and Mali). His audience comprises multiple generations and strata of Burkinabé society; he accordingly adapts his repertoire to his surroundings, which range from cabaret Sundays in Bobo-Dioulasso to the sound systems of Ouagadougou. Baba Commandant and the Mandingo Band are a formidable force steeped in Ouagadougous DIY underground musical culture. Juguya is their sound." - Sublime Frequencies.

“Reissued on vinyl for the first time, heres the second LP by Baba Yaga, After his adventure with My Solid Ground, Ingo Werner formed Baba Yaga. Named after the Slavic folklore character his new adventure seemed to be more a solo project. On this second LP Ingo Werner chose to join forces with santur, sitar, tabla player Nemat Darman, an Iranian musician who also contributed congas, cymbal, gong, timpani, drums and vibraphone, and record the whole album as a duo. Werner would play EMS, Davoli and Solina-string synthesizer, clavinet, electric piano and grand piano, besides producing the whole sessions at the Dieter Dierks studio. On this second delivery, Baba Yaga offer an intriguing mixture of krautrock electronic experimentation with improvised ethnic sounds and textures, compared by some to works by Popol Vuh, Third Ear Band,Brainticket, the early Tangerine Dream, Deuter or even Between.
Reissued on vinyl for the first time ever, the Wah Wah edition is limited to 500 copies only - get yours before it flies!” - Wah Wah.

“After his adventure with My Solid Ground, Ingo Werner formed Baba Yaga. Named after the Slavic folklore character his new adventure seemed to be more a solo project (he plays electric piano, piano, mellotron, synthesizer, organ, clavinet, bassoon and gong, besides being the composer of the music), but it is made with the cooperation of other musicians - most notably Bernd Weidmann who, in addition to singing and playing bass also contibuted with some lyrics. Other musicians in the recording are Joska Fiedermutz on drums, plus Winfried Schreiber and Jürgen Dyrauf on guitars. Songs on this debut album, which was originally issued in 1974 as a very limited edition on the very small Cycle label have been compared to some UK prog-rock works like those of Cressida, Aardvark, Egg,Arzachel, Fantasy or Greenslade. As the LP plays on, echoes of the Canterbury scene can be heard through some jazzy influences, and some heavy-psych and cosmic avant-garde athmospheres created by Werners intelligent use of synthesizers, are thrown in.
Reissued on vinyl for the first time ever, the Wah Wah edition is limited to 500 copies only - get yours before it flies!” - Wah Wah.

“Bruit Direct Disques presents the first LP byBadaboum, a French all-star girl group that includesKrine (Headwar), Armelle (The Dreams), andSolene (Dudu Geva) and is affiliated with the famous Grande Triple Alliance de lEst posse (Ah Kraken, Feeling of Love, Scorpion Violente). They play a form of post-punk music akin to Liliput/Kleenex and Malaria!, adding their own reverbed idiosyncrasies and eerie organ lines and chanting in indecipherable Italian, mock German, and plain French. Taking turns on drums and blowing thru severed reeds, Badaboum will bring you as much joy as chaos.” - Bruit Direct.

"Hard-edged French coldwave act Babel 17 officially formed in 1989. Members of the band had been playing together under various names since 1983, scrapping, rewriting, and experimenting with songs and ideas before settling upon their official name and sound. The first incarnations drummer would go on to join Little Nemo, who helped the newly formed Babel 17 land a record contract with the prestigious Lively Art label (And Also The Trees, Little Nemo, Asylum Party). The band released two albums and a series of singles before splitting in 1993, just as their peers were folding and Lively Art closed its doors. Released in 1990, Celeano Fragments is now reissued on vinyl for the first time. For fans of Clan Of Xymox, The Danse Society, New Order, Trisomie 21, and Asylum Party. 300 copies on clear blue vinyl. 250 gram sleeve. Printed inner sleeve. Includes a download card." - Desire.

""Meet Me in the City" is the second single from new NYC combo THE BABIES. "Meet Me in the City" and "Somebody Else" are rollicking pop gems, pungent with sweet harmonies, raucous beats, tambourines, skyscraping guitars: the works. Summer dreams, psychic revelry, concrete heat-Babies are born! The individual Babies are no strangers to melodic transcendence, a fact to which their work in psych-pop wunderkinds WOODS and chainsaw sirens VIVIAN GIRLS will attest. Anybody with an ear for indie-pop mayhem had best put their spending shoes on pronto, as these Babies are starchildren of an entirely different breed!"

"In 2008, KEVIN MORBY moved into CASSIE RAMONEs small apartment in Clinton Hill, Brooklyn, for a few months. Morby, who plays bass in WOODS, and Ramone, who sings and plays guitar in VIVIAN GIRLS, wanted to start a band. They both missed the sweaty loft shows they used to play before their bands moved on to larger venues and longer tours. JUSTIN SULLIVAN, who had played with Ramone in BOSSY, began practicing with them on drums, and THE BABIES debuted as a three-piece in March 2009 at Dead Herring, their friends loft in Brooklyn. They played a few times before asking NATHAN STARK, formerly of BENT OUTTA SHAPE, to join on bass, and the full lineups first shows were that summer. The Babies wrote music and played shows in fits and spurts, whenever they all happened to be in town for a week. They recorded their self-titled debut album with JARVIS TAVENIERE at Rear House Studios, which doubles as Morbys home; his vocals were done in his own bedroom. (Taveniere, Morbys bandmate in Woods, has also recorded Real Estate, Vivian Girls and Woods.) The debut follows 7-inch singles on Make a Mess and Wild World. The Babies songs are roughed-up jewels cut from the same cloth as Hazlewood and Sinatra, The Velvet Underground and Nico, Pisces and Linda Bruner, and other dream marriages. Limited to 200 copies on cassette." -Shrimper

"In 2008, KEVIN MORBY moved into CASSIE RAMONEs small apartment in Clinton Hill, Brooklyn, for a few months. Morby, who plays bass in WOODS, and Ramone, who sings and plays guitar in VIVIAN GIRLS, wanted to start a band. They both missed the sweaty loft shows they used to play before their bands moved on to larger venues and longer tours. JUSTIN SULLIVAN, who had played with Ramone in BOSSY, began practicing with them on drums, and THE BABIES debuted as a three-piece in March 2009 at Dead Herring, their friends loft in Brooklyn. They played a few times before asking NATHAN STARK, formerly of BENT OUTTA SHAPE, to join on bass, and the full lineups first shows were that summer. The Babies wrote music and played shows in fits and spurts, whenever they all happened to be in town for a week. They recorded their self-titled debut album with JARVIS TAVENIERE at Rear House Studios, which doubles as Morbys home; his vocals were done in his own bedroom. (Taveniere, Morbys bandmate in Woods, has also recorded Real Estate, Vivian Girls and Woods.) The debut follows 7-inch singles on Make a Mess and Wild World. The Babies songs are roughed-up jewels cut from the same cloth as Hazlewood and Sinatra, The Velvet Underground and Nico, Pisces and Linda Bruner, and other dream marriages. Limited to 200 copies on cassette. Vinyl includes digital download coupon." - Shrimper.

Repressed. "Baby Grandmothers were a short-lived Swedish band, but one of the most prolific and unique psychedelic, modal, experimental power-trios to emerge out of the Scandinavian psychedelic underground scene in 1967. Although hailing from Stockholm, Sweden they only released a single in Finland, which has since become one of the most sought-after pieces of vinyl from the era. Baby Grandmothers were formed out of the legendary R&B/beat band T-Boones in the summer of 1967. T-Boones are probably best known for their "At The Club/King Of The Orient" single which is one of the best, and most collectable of the Swedish garage beat era. Guitar-wiz Kenny Håkansson joined the band in 1965 and with the group down to a trio they drifted into the psychedelic sounds of the time and in August 1967 released the single "I Want You," which definitely was the first hard-rock recording ever made in Sweden. The band was then re-christened Baby Grandmothers by the co-founder of the newly opened psychedelic club Filips, for which he needed a house-band. Filips was the legendary breeding ground for bands such as Hansson & Karlsson, Pärson Sound, as well as orgiastic all-night jams with foreign luminaries such as Jimi Hendrix and the Mothers of Invention. Baby Grandmothers also supported Jimi Hendrix on his Swedish tour in 1968 and then turned into Mecki Mark Men, who became the first Swedish rock band to tour the U.S. Founding member Kenny Håkansson went on to form the highly influential Kebnekajse, who created the Swedish electric psych-folk sound. This unique collection presents live recordings made at Filips, their impossibly rare single and a rare live recording made in Finland. Painstakingly collected and researched by Dungens guitarist Reine Fiske. 16-page booklet included." - Subliminal Sounds.

"2016 repress of this 2LP vinyl edition, originally released in 2007. Baby Grandmothers were a short-lived Swedish band, but one of the most prolific and unique psychedelic, modal, experimental power trios to emerge out of the Scandinavian psychedelic underground scene in 1967. Although hailing from Stockholm, Sweden they only released a single in Finland, which has since become one of the most sought-after pieces of vinyl from the era. Formed out of the legendary R&B/beat band T-Boones which included guitar-wiz Kenny Håkansson, who ushered the group into the psychedelic sounds of the time. Not only were they the house band at the legendary psychedelic club, Filips, they also supported Jimi Hendrix on his Swedish tour in 1968 and then turned into Mecki Mark Men, who became the first Swedish rock band to tour the U.S. This unique collection includes live recordings made at Filips, their impossibly rare single and a rare live recording made in Finland. Painstakingly collected and researched by Dungens guitarist, Reine Fiske." - Subliminal Sounds.

"Bachi da Pietra (The stone worms) is a two-men band whose dark and resonating music wraps around tunes of desolate candor and lyrics (in Italian) as dark and imaginative as broken love can be. A relentless drumming hovers over a huge wash of ride cymbal and a deep, plaintive voice, which is able to capture sadness, anger and yearning. The entire album is a visceral emotional journey: the dissonant blues-based songs develop around the steady drone of the singers voice, a trance-inducing vocal presence singing of grim meditations on life that are crafted and performed with disarming sincerity. Just like the mysterious and enigmatic characters that orbited their doom-laden, disturbing world, Bachi da Pietra is an unpredictable band that leaves the listeners feeling vulnerable, moved, and sometimes totally spaced-out." - Die Schachtel.

“2015 repress on white vinyl. First vinylization of the 2011 CD-R release, with which Daniel Bachman shucked the performing name hed been using (Sacred Harp) and laid his naked ass on the line. Bachman already sounds like a wizened player here (an image that was solidified when his mug was plastered on the box for Tompkins Squares "Obscure Giants of Acoustic Guitar" trading cards), but he was actually still a babe of the Fredericksburg woods at the time this came out. Regardless, his technique is massive, and his approach to the material -- based on a color-wheel tuning system developed by the late Robbie Basho -- is intense. Recorded onto a boom-box, with a hi-fi quotient of nil, the material here reminds one of what Bill Orcutt might sound like if he decided to play in longer format time-chunks. Theres a wonderful kind of containment to the music -- suggesting deep investigation and improvisation with hermetic knowledge rather than anything constrictive -- which gives this album a sense of spirituality one rarely finds outside the New Age bin. Bachman is a master player, and the evidence of this is apparent even at this relatively early stage of his trajectory. Through constant touring and wood-sheddding, Daniels music has evolved in multiple directions over the intervening years, but Grey-Black-Green remains one of the true and unique high watermarks of his recordings. How great to have it on vinyl at long last. Includes a download code.” - Feeding Tube.

"First off, the cover. Lets make it clear -- this was totally Daniels idea and is based on the original art for Tony Rices California Album (Rebel SLP-1549, 1975). Why? We cannot say exactly. The album is considered to be in Rices all-time top five. But so what? Who amongst us can claim to have fully plumbed the depths of Bachmans mind? The guy is a genius and those types just have their ways. So shut up about the cover already. This album itself was released under the title Daniel Bachman by an English label -- Lancashire and Somerset -- in 2014. But copies evaporated like moms milk, so heres a sonic jug from which we can all suckle with warm ease. Miscellaneous Ephemera is an amazing record -- filled to the brim with music that extends the concept of acoustic guitar manipulation beyond the range of mere vaseline machine guns. The pieces range from disruptive scrambles and neo-Tuvan throat aktion worthy of late-period Fahey to Kabra-style ragas and the more easily-anticipated particles of primitive guitar brilliance. There is also some adult content on the second side, so radio programmers -- be alert! Bachman has been a growing force in the acoustic underground for a few years now, and this new one really rips a new hole in the side of the styles star-cluster. Join forces with it today. Or else" --Byron Coley, 2015. Edition of 500.

"This is the second full length LP by steel string guitarist Daniel Bachman (who formerly recorded and performed as Sacred Harp). Though young in years, he plays with a technical facility and emotional depth equal to that of the greatest fingerstylists. His discography is already full of strong releases, but this new recording is the first Ive heard to fully capture the intimate beauty that many have witnessed in his live acoustic performances across the country. Authenticity has been a issue that has plagued folk music for much of the 20th century and these days anyone can pick up a style that was previously known only to a few mountainfolk. While Bachmans playing is surely reminiscent of the spiritual searching sound of Robbie Basho, and indeed the spectre of Fahey looms large, he is no Johnny-come-lately. The distinct sound you will hear on this record is inspired by the traditions and lore unique to Fredericksberg, Virginia, also the hometown of Jack Rose (may God watch over his soul). Limited edition one time pressing of 500 copies." -One Kind Favor.

"First available reissue off this legendary garage classic since the old days when the Vermonster wore pants!" - FE. "700 press of all-time killer garage LP from 1968, Illinois. Minister to a Mind Diseased and Tables of Grass Fields are the two cuts that grab me, but the whole LP is killer from start to finish. Exact cover reproduced here and glossy. Just a 700 pressing -- will sell out quickly. In conjunction with Gearfab, Void Records brings you this mammoth release!" - Void.

“60s garage-psych moody monster! Out of The Bachs was originally released in 1968 as a private pressing of 150 copies; its one of the rarest USA 60s garage/teenbeat albums ever. The band consisted of five young kids from Chicago, regulars at local teen dances, who decided to release an album for their fans before splitting up. Recorded and mixed in just ten hours at a makeshift studio, Out of The Bachs offers 12 amazing self-penned songs with a sound ahead of its time. Pure teenage-angst vocals, crashing Rickenbackers, fuzz outbursts, killer moody tracks... Sadly, all previous reissues of the album failed to capture the true sound of the original, until the Time-Lag label reissued it in 2011 with remastered sound from a pristine original vinyl copy. This reissue uses the same audio master as the out-of-print Time-Lag edition. File next to The Rising Storm, The Fantastic Dee-Jays, The Savages. Includes insert with detailed liner notes and rare photos.” - Out-Sider.

"First reissue of Baciamibartali and Winter Light (1982), an essential document of Italian post-punk split between Tarcisio Lancionis twin projects Baciamibartali and Winter Light. Includes CD containing the album plus Baciamibartalis 1984 three-song EP The Mournful Gloom." - Spittle. "The magic touch of this unforgettable icon of romantic and decadent post-punk music is back to pluck strings in the depths of our souls, a jubilation of the most powerful vibrational dynamics, melodic/chromatic inventions and perspective layers . . . whether they are the dreamlike fugues of Baciamibartali or the neon-lighted electronics of Winter Light. . . . Although the “twilight of hope” and the fragility of the human condition are clearly inspirations to the author, on the other hand the stings of disenchantment look for shelter by embracing an impossible dream, one that dies away among the lights and shades of these atemporal melodies. Glimpses of the Pre-Raphaelite aesthetics that torture shrouds of sublime harmonies and chisel electric marbles of an epic memory, burning in a never-ending chant of passion. This reissue is nothing short of a must." - Aldo Chimenti.

"Milvia Son is positively stoked to present the first full-length LP by Back Magic, following a cassette and a couple of limited run lathe cuts on Nick Hoffmans esteemed Pilgrim Talk label. While the line-up and sonics have varied over Back Magics brief history, the relative constants thus far are Hair EXP on guitar and vocals, and Terror Trans on drums. This LP features just the core duo doing what they do very well indeed … which occasionally sounds like a proto-embryonic version of The Great Society if they replaced Grace with some chanting monks, and other times sounds like a couple burned-out monks getting their rocks on after stumbling across an amp and some drums. The album is very much in the vein of their “Dream Lover” cassette, described by Byron Coley as a “curiously strong” recording of “a guitar, a drum, and a lung playing skeletal miniatures from inside a ghost garage”, and by Ed Pinsent as embodying “a shrill plangency that makes you want to cry and shudder at the same time.” Like many haunted recordings, this one finishes with a question mark that will leave you wondering what the hell just happened. Limited to 250 copies with cover and insert art by Nick Hoffman, beautifully silk-screened by Alan Sherry. Get your copy or be damned to a lifetime of chronic lumbago." -Milvia Son.

"In a departure from their famous neo-classical style, Back Magics surrealistic
anti-masterpiece is full of passion and adventure. Goldilocks takes us into a
world where sex and fantasy have no boundaries. This is the story of a Goldilocks
that redefines the "double standard," while becoming a free spirit in the process.
Includes 12 page zine. 30 copies" - Pilgrim Talk.

"Sven-Erik Bäck was in his versatility unique among Swedish composers. Since his debut in the 1940s, he was regarded as a radical avantgardist and since Bäck was also a performer, the musical result became most interesting. Since his first electronic work -- In Principio (1970) Bäck produced many electronic as well as instrumental and vocal compositions. He also combined music with other media such as dance and visual art." - Fylkingen.

"New lower pricing. Available for the first time since its release twenty years ago, The Backdoor Men were ultimate mid-1980s jangly garage rock/pop/folk from Sweden. Decades before bands like the Hives, Sweden was already well known for its amazing modern beat-psych through compatriot and influential bands such as the Creeps, Crimson Shadows, The Stomachmouths and of course the sharpest of them all; the Backdoor Men. The mighty Backdoor Men originally started up as the mod-band Pow in 1982 but when the amazing vocalist Robert Jelinek, who was also in the Creeps, joined forces with Hans Ingemansson (guitar & vocals), Stefan Nilsson (bass), and Ismail Samie (drums), they changed their name to The Backdoor Men, playing covers of the Chocolate Watch Band, Music Machine and Standells. The rest is garage rock history. For the first time you can hear all of their recordings and read their exciting story. This album contains lots of unreleased bonus tracks, a groovy booklet with extensive liner notes giving an uncensored, first-hand peak as to what really happened, plus lots of photos. Its all here." - Subliminal Sounds.

"More than a decade since their first (and last) trio album, Dim Bulb (2005), Buffalo Steve, Chris Corsano and Paul Flaherty are back on the attack. The three recorded as part of a larger ensemble on the Open Mouth LP, Wrong Number (2014), but they have a certain way of creating focused trio dynamics that makes babies talk in tongues and old men drool. The line-up is a bit unorthodox -- two saxes (one a goddamn baritone) and drums. You might almost be tempted to call the format European. But itd be a canard to try and place this album in the Euro free music tradition. I mean, yeah, there is some massive outsider brawling here. Buckets of wind and clumps of tubs all double twisted up, as Fred Blassie used to say. But the fire never refrains from flaming as jazz-qua-jazz, which places it a lot more squarely in the American tradition than actual squares would have you believe. These three are clearly savages, which is a far cry from people impersonating savages, if you catch my drift. Beyond that, there is an ineffably jazzoid heft to the music here. Both Steve and Paul are playing in a distinctly post-Ayler jetstream. The freedom of their runs maintains that strangely (perhaps even imaginary or projective) American connection to bar-walking R&B maniacs -- something that seems to lie at the bottom of our countrys hornic subconscious. Which is not to say individual moments on this record couldnt have come from the FMP catalog, but theres a red hot holism here that will brand most asses with the stars & stripes. The Dull Blade has a strange undercurrent of swing here as well. Largely provided by Mr. Corsanos driving full kit approach, the most outward-moving passages (often those involving the inner and outer freak registers of the horns) get corralled back into more clearly terrestrial and genuinely moving. Its a great goddamn record. Once again these guys manage to defy odds and expectations, creating music that is as fully-charged and beautiful as it is warped." - Byron Coley, 2017. Edition of 400.

"With a slight Ayler-esque quality to the horns and a build and collapse approach to songwriting, this trio cranks out abstract, quality free jazz that few combos approach these days. Thought to be a live-only experience, BACZKOWSKI, CORSANO, AND FLAHERTY treat their loyal fans to a take-home version of their way-out sound."

"Permanent had the opportunity to put Raw Powder out on wax and squandered it. Well never forgive ourselves. BAD DRUGS is one of Chicagos absolute best noise rock bands, not just of now, of all time. And with the storied history of noisy rock bands formed by the oppressive nature of the Windy City, thats saying something. Raw Powder. Its an absolutely punishing, brutal, and gnarly noise rock record through and through. Other bands in the genre sometimes hide their lack of ability behind noise, which is fine and dandy cuz were all about non-musicians making a racket, but this is NOT the case with Bad Drugs. Each of these dudes is totally adept at their respective instruments. So adept that even the thick layer of noise that resides between phrases cant mask the skill residing in these dudes skulls. Each and every single goddamn one of these songs R-I-P. Oh yeah, and the vinyl totally glows in the dark. Each side ends in an obnoxious locked groove. The art is fucking amazing, just like the rest of the Rotted Tooth releases. And its limited to 300 hand-numbered copies. And YOU SHOULD BUY IT to avoid a life of in regret like us Permanent idiots (for not putting this record out ourselves)." -Rotted Tooth

"The third full length album by The Grass, following 2007s Invigorating Scent LP and the Birth/Death CDR from 2006. Timber Cove is the name of a Pacific Coast outlook off Highway 1, near Jenner, north of Gualala. The mysterious duos synthesizers, pedals, guitars and amps were taken to the foot of Benny Bufanos legendary sculpture, The Expanding Universe, an 80-foot tall missile-shaped cement monument decorated in mosaic with images of benevolent aliens. Thereafter, the equipment -- and the audience -- was turned on. The first track on the LP, mastered in glorious mono at 45 rpm for maximum impact, transposes Bufanos vision into sound, an analog anthem from deep space designed to inspire sperm whales and giant squid alike to lay down their weapons and fight no more. The small audience (of European tourists?) appears to have been moved. The entirety of side B (33 rpm, wide stereo) consists of DMT Elf Blues. Amidst a disquieting drone accompanied by a languid guitar, the damaged laughter of a clown skull is irregularly audible until ultimately vanquished by plucked strings wafting in from the East. All that remains is a pair of felt boots, a cicada, a whipporwill, and a distant echo. Is this the first businessmans trip to end up in a regional wilderness? We doubt it, but only because weve previously woken in places where we never expected to be unconscious. 300 copies, color sleeves, color insert, priced for the Great Recession." - Milvia Son.

"The second Bad Drumlin Grass record is the first vinyl release on Milvia Son Records. Way back in July of 2006, Sensei Rebel chose the bands schizophrenic inaugural CDR (Birth/Afterbirth) as his Ambient Pick of the Week. Forsaking the drone (at least temporarily), Bad Drumlin Grass presents two solid sides of junk n roll instrumental freakouts that careen into the void like cigarette cherries dropping into the fake beard of a paranoid neo-folkie where, like Sonny Bono, they just sit there and *burn*. These are not the lost Hams rehearsals tapes. Imagine Richard Thompson and Garth Hudson rehearsing for 10,000 hours and touring with This Heat. This record is the exact opposite of that, except for being recorded live without overdubs. 300 copies for the world." -Milvia Son.

"Influenced by the post-industrial Nettwerk/Wax Trax heyday BAD NEWS is the anachronistic heavy industrial duo that pits the spellbound female vocals and guitar of SARAH BERNAT (16 BITCH PILE-UP) against the male synthesizers and drum machines of SF Bay Area noise veteran ALEX S. LUKAS. "(This is Why We Cant Have) Nice Things" bores its way directly into the pleasure center of your brain and attempts to blow it to fucking pieces. It latches onto your subconscious and becomes symbiotic with your fear. You will put the stone in your mouth. Your teeth will break on it! The remixed B-side turns a cold goth shoulder, replacing guitar with the melodic, mechanistic synths of MARC MANNING. Pressed on silver vinyl." -Sleep Genius.

"The duo Bad Party emerged from the ashes of Detroit acts White Devil and Tamion 12 Inch sometime in 2006. Theyve been playing countless live shows in Detroit for a few years, delivering their polarizing and abrasive sound to dozens of fans. Calling to mind the stripped down, industrial minimalism of Big Black or early Suicide, Coming Out Slowly captures Bad Partys scummy and raw live sound perfectly. All 8 of the songs on the album, complete with uncomfortable lyrics and aggressive repetition, are the worlds perfect introduction to one of the sub-undergrounds most entertaining acts. ADR is pleased to present to you, Bad Partys debut offering Coming Out Slowly on limited edition vinyl." - Animal Disguise

"The first release on Near Tapes. The audio equivalent of spirit photography, a live rehersal tape, recorded by Lamp Puffer, that was sabotaged by an unknown entity. The ghost leaves some strange kind of bell ringing sound and bits of worbly vocal grumbles on both sides. The end of side A is a keyboard piece that warps out thanks to paranormal producer. There is a kind of tropical feel to the rest of side A. side B begins with a kind of whale moan. The rest of side B is rather industrial?" -Near Tapes. Members of Siltbreeze recording artists Naked On The Vague.

“A year and some ago THE BAD TRIPS eased their debut album out of the wilds of Ventura, California and every fan of modern psych and/or MONOSHOCK / LIQUOR BALL stood up and cheered. Something new by GRADY RUNYAN! But it turned out that The Bad Trips was a sum of its parts and, man, those parts are good. Now the Trips are back with their second record and if the first was a moon shot, Open strands you on a cold, dark planet. Atmospheric mind melting while a far off sun dies. Killer stuff.” -Scott Soriano (S-S)

"Badgerlore is the great tribal council of the so-called freak folk movement. The supergroup features Rob Fisk (Deerhoof, 7-Year Rabbit Cycle) and Ben Chasny (Six Organs of Admittance, Comets On Fire), with Tom Carter (Charalambides), Pete Swanson (Yellow Swans), Glen Donaldson (Blithe Sons, Jewelled Antler) and Liz Harris (Grouper). Together they proceed with masterful nuance and inexorable tension; We Are All Hopeful Farmers, We Are All Scared Rabbits is the sound of effigy mounds slowly rousing from prehistoric slumber." - Xeric.

“2014 release. Pioneering electroacoustic and tape music by Henk Badings assisted by Dick Raaijmakers (Kid Baltan) from the Hanover Opera Ballet production of Evolutions, choreographed by Yvonne Georgi. Premiering in Hannover in 1958, then in Rome and Vienna in the following year, the ballet Evolutions (Evolutionen) by Yvonne Georgi was the second of three groundbreaking collaborations with Henk Badings (bookended by Cain and Abel aka Elektronisches Ballet in 1957 and Die Frau Von Andros in 1960) in which electronic tape music combined with avant-garde choreography. This pairing contributed to a vibrant global movement connecting experimental dance artists with electroacoustic and musique concrète musicians, manifested in the partnerships of choreographer Maurice Béjart with musician Pierre Henry and choreographer George Balanchine with musician Remi Gassmann, as well as Alwin Nikolais groundbreaking work in choreography and sound. Assisted by Raaijmakers, a fellow Dutch electronic music pioneer and a Philips sound laboratory technician, Badings, an Indonesian-born musician of Dutch parents, would by the late 50s begin to expand his successful career as a composer of "romantic modernism" and develop electronic, polytonal, and microtonal music that instantly attracted Georgi to his unique brand of musique concrète. As a key exponent of forward-thinking and conceptual dance, Georgi devised a narrative based on the evolution of technology and its agonizing effects on mankind. Garnering mixed opinions amongst the classical ballet cognoscenti in 1959, the projects of Georgi and Badings were viewed as part concert, part installation due to the radical sonic shifts and the physical deployment of large electronic speakers to replace the otherwise acoustic orchestral accompaniment. Prepared with the entire apparatus of the studio at Philips physics laboratory in Eindhoven before being committed to master tapes, Evolutions not only stretched the perceptions of modern ballet aficionados but also stretched the technical boundaries of electronic music at one of its most exciting and vibrant junctures in musical history.” - Cacophonic.

"Aurora Rising present a reissue of Henk Badings and Dick Raaijmakerss Evolutions, Contrasts & Electronic Music, originally released in 1958 under the title Electronic Music and released again in 1968 as Evolution & Contrasts. The 1968 release Evolution & Contrasts contains the same recordings as the 1958 Electronic Music album. Henk Badings and Dick Raaijmakers were composers, arrangers, conductors, and pioneers in the field of electronic music. They created electronic soundscapes with a rather creepy atmosphere. This stuff is different to the 50s avant-garde classics and the more pop-oriented electronic albums of the same period. Badingss "Capriccio For Violin And Two Sound Tracks" can be seen as a strange dialogue with sloping melodies between the violin and unidentifiable electronic devices that gives you goosebumps. It has a rather picturesque approach and could be used for early horror flicks as accompanying music for the horrifying scenes. The amazing fact is that this music still sounds fresh and exciting even nearly six decades after its initial release. "Genese", on the other hand, is a lengthy composition of chirping, bubbling, and droning sounds, swelling and ebbing away in regular intervals. Cosmic music of the highest order. Some sections also feel like an intergalactic information transfer signal of unknown origin. All-in-all a very spooky and haunting affair. Its interesting how electronic music already went back in the late 50s while most people consider the late 60s and early 70s as the heydays for electronic experiments and cosmic sounds. Well, this reissue allows listeners to experience the pioneers of this genre, and they really do it well. Raaijmakers even had a hand in writing groovy dance compositions when collaborating with Tom Dissevelt. He used the pseudonym Kid Baltan on these occasions. Anyway, this is quite a different thing. This is dark and utterly strange. "Contrasts" by Raaijmakers is a mixture between funny swirling sounds that make you think of a quick tempered discussion between little androids and menacing drones in the back that soon gets interrupted by single blows and hisses with frightening howls far in the back. This is definitely an album for true enthusiasts of strange electronic sounds who even consider early Tangerine Dream as fluffy pop music. Includes five bonus tracks." - Aurora Rising.

"Recorded in the early 70s in her home on a reel-to-reel tape deck, SIBYLLE BAIERs Colour Green paints intimate portraits of lifes sad and fragile beauty. Baier and her music appeared in the 1973 Wim Wenders film Alice in the Cities, but her recordings were never released, and only shared with family and friends. Its said that "Remember the Day," the first song she ever wrote, was inspired by a road trip to the Alps with a friend during a dark period in her youth. Upon return, Baier pulled out her reel-to-reel and preserved these intimate thoughts and feelings on tape. Though she eventually chose family and motherhood over a music career, the bare, hushed folk songs on Colour Green, first released in 2006, have elevated her to the realm of revered cult performers such as Vashti Bunyan, Nico and Bridget St. John. After an extremely limited initial pressing (copies of which have fetched large sums via online auction sites), Colour Green is finally available again on vinyl. "Its sad, at times dark and almost uncomfortably intimate, and one of the most fragile and beautiful releases this year."-Gorilla vs. Bear

"Baikal is a new burner from Bardo Pond brothers John & Michael Gibbons along with fellow Bardo Pond members Clint Takeda and Jason Kourkonis. This time they ventured down the route of heavy free-improvisation and a Last Exit style hard rock approach coupled with a hard psych bend. With two tracks each weighing in at over 30 minutes in length its clear that Baikal is a deep voyage underseas with yet another mindblowing Bardo Pond side project featuring Bardo brothers John & Michael Gibbons as your tour guide -- and its a heavy trip indeed. Dive in." - Important.

"The first gig on Milo Fines extended visit to London found him playing clarinets, drums and electronic keyboard in cohorts with Derek Bailey on electric guitar. They first worked together twenty years previously, but this was the first time they performed as a duo. 58 minutes." - Emanem.

"This was a cassette not officially released on Incus or any other label. It was sold by Derek Bailey at concerts. For a short period in 2010 original copies were sold via the Incus website. The back story: In 1983 Derek Bailey was due to visit Japan for a concert tour and decided to take with him, for sale at the concerts, a cassette recorded live in Milwaukee. Approximately 500 cassettes were prepared and dispatched to the promoter in Japan but, in the event, the tour fell through and the cassettes were returned to England. On arriving to collect the two boxes containing the cassettes from the Post Office, Derek found that they were badly damaged and, having to pay to regain them, decided to collect only one of the parcels. The salvageable cassettes - number not known, but probably around 150 - were subsequently sold at other live dates. All were produced on a light-grey plastic cassette body with Concert in Milwaukee, Derek Bailey plus date of concert, printed in light-blue directly on the cassette body. The cassette came with an insert with the number DBC2 (no number on cassette itself)." -Incus

"The godfather of improvisational guitar, Derek Baileys praises have been sung far and wide by everyone from Pat Metheny to Karlheinz Stockhausen for having revolutionized the way the instrument was played over the last half of the twentieth century. Although fans are often frustrated by the low-fidelity of his earlier recordings, this 1975 LP (originally released on the Italian avant-garde label, Cramps), stands out in that regard. Recorded in an actual studio (unlike most of his early work) in Milan, for this session Bailey was apparently asked by his Italian hosts to define improvisation. He then proceeded to give his answer in the form of these fourteen tracks (eight performed with electric guitar, five with six-string acoustic guitar, and one with a 19-string acoustic guitar). 180 gram vinyl reissue with printed inner sleeve." -Mirumir.

"2012 -- long awaited repress; originally reissued by Incus in 2002. Reissue of one of the most obscure Bailey releases ever, from the long long defunct Morgue label of Japan (run by the legendary promoter Aquirax Aida). Derek has been trying to buy back the masters to this one for a decade+ and has finally succeeded! All tracks are solo guitar (acoustic & electric), the first disc features studio recordings with titles taken from Byrons Don Juan; the 2nd disc features live recordings from Nagoya and Kalavinka -- all recorded 1978. "Incus has acquired the masters of New Sights Old Sounds, the double solo album Derek Bailey recorded for the Morgue Iabel in 1978. Issued in Japan in 1978 it has been out of print since 1979. It is now issued as a double CD on Incus with the original artwork."" -Incus.

"Tequila Sunrise Records is proud to release the first recordings by Meg Baird under her own name. Meg has been singing and performing since she was a kid with her sister Laura as a charter member of thse traditional folk duo the Baird Sisters, though she is currently best known as one of the "female larynxes" of the communal Philadelphia band Espers. Or we should say, best known as the siren-voiced singer for same. Or, perhaps, we could let Nick Carraway describe the quality of her voice for us: The exhilarating ripple of her voice was a wild tonic in the rain. I had to follow the sound of it for a moment, up and down, with my ear alone before any words came through.
We asked Meg to record something with a country-waltz flavor, and she courteously obliged us with a graceful and bittersweet cover of Waltze of the Tennis Players by the under-appreciated 60s folksters Fraser and Debolt. The mushrooms are growing in every new boot print, my, my, my.
For the B-side, she recorded an alternate version of "Dear Companion", a track from her forthcoming LP. Its an ancient melody, an aching lament sung "in the style of the chapel", with Meg whisper-singing right into your ear, or maybe just to herself as she folds the laundry and does the dishes. You can see things more clearly when you shut your eyes.
So here is a taste from the Meg Baird solo LP (due Christmas 2006), enough to wet your whistle and whet your appetite. You will want to hear more." - Tequila Sunrise.

"A solo project by drummer/composer Michael Baird. Gongs and bells vibrate, tremble, quake, quiver, flutter, flicker, murmur, hum, throb, ding, dong, peal, ping, trill, tinkle, oscillate, ring and shake. Each one a microcosm, wonderfully recorded, capturing every overtone. The album enters the borderland between ethnic music, improvisation and soundscape without the pretension of being experimental, and where you seem to get liberated from all kinds of musical conventions. Includes an 8-page booklet." - SWP.

"A work of blissful delight. Aidan Baker provides four sides of enchantment in this long-in-the-making 2LP set. Gathering Blue provides new original material plus a stunning cover of the Joy Division track 24 Hours as well as an extended work-out of the amazing remix of The Cicada Sings Our Love Song by Building Castles Out Of Matchsticks, which was originally released in 2005 on the ultra-limited and long-deleted Arcolepsy Records CD Remixes. This really is Aidan Baker at his very best and a record that is sure to charm. Comes in a gatefold sleeve, numbered card insert and pressed on heavy 180g virgin vinyl." - Equation

"We are very pleased to be releasing this for Aidan Baker, one of the most interesting genre defying musical experimentalists around right now. Aidan also plays in the mind-melting shoegaze doom duo of Nadja. This release reissues two tracks from a very limited CDR release entitled Thoughtforms, the LP collects two tracks from this release: Thoughtspan and Thought Climate. Two long form tracks of genre-blending shoegaze, post rock, and free playing clatter experimentation. Limited to 350 copies." -Blackest Rainbow

Includes download code. "A brand new compilation of rare material by John Baker from the BBC Radiophonic Workshop! John Baker (who worked for the BBC alongside Delia Derbyshire) ranks as one of the worlds most influential electronic musicians. His talent as a jazz pianist & ability to manipulate tiny fragments of tape into new sound is legendary. Whilst working on The John Baker Tapes compilation for Trunk Records, producer Alan Gubby unearthed several reels of music & sound effects from the 1960s BBC TV series Vendetta -- a mafia themed cop thriller starring Italian actor Stelio Canelli (Barbarella,Django, Planet Of The Vampires). The theme tune for the show was composed by John Barry whilst Baker produced all the incidental music. He created brilliant, tense, rhythmic & unhinged James Bond style themes for the show between 1966 & 1968, featuring radiophonic beats, twanging bass lines & screaming jazz solos. Available for the 1st time ever, Bakers soundtrack for Vendetta displays his skill in fusing groovy tape loops, ambient drones & bass textures with real instruments. The music is thrilling, sleazy, deranged & very hip. Highlights from the score are presented on this compilation alongside other rare & previously unreleased Baker tracks, all digitally remastered by Mark Ayres from the Radiophonic Workshop archive." - Buried Treasure.

"Petr Bakla belongs to generation of composers whose output no longer seems bound to the imperative of the "search for sounds" extended technique. Instead, he builds his music on the unmarked instrumental sound, which he uses to create a flow of interacting layers and explore the means of pure pitch, time and sound volume to the expressive extreme. His first ever solo release presents him at his best - two orchestral pieces as a definite manifesto of monumental monochromatic environments, both in Baklas favorite diptych form. Personnel: Roland Kluttig - conducting, Daan Vandewalle - piano and Ostravska Banda - orchestra on "Piano Concerto"; Rolf Gupta - conducting and Janacek Philharmonic Orchestra - orchestra on "Classical Blend/Weinachtsoratorium"." - God.

"One of the best things happening in Baltimore punk right now... Baklavaa makes vicious and slightly strange, kinda mathy hardcore leaning back to the Baltimore/Washington D.C. regions post-hardcore golden era." - Baltimore City Paper. "Baltimores favorite weird post-punk band just put out a new LP. Its really cool, and if you liked their other stuff which I posted earlier you will love this new album... It kind of sounds like tripping. Sortof like a mescaline trip, because its too intense for acid and too abrasive for mushrooms." - Chug Life. Edition of 100 copies in silkscreened jackets.

"Medical Records presents a hand-picked selection of the early recordings of Germanys Bal Paré. The band started as Jeanette und das Land Z in 1981 with a 7 on Konkurrenz, which included two covers: Raumpatrouille (soundtrack from a weird science fiction TV series) and 60s Eurovision Grand Prix number one hit, Poupe de cire, poupe de son by France Gall. The 7 became an underground hit. Members were Kirsten Klemm (vocals), Jan T. Krahn (synthesizer) and Matthias Schuster (synthesizer, beatbox). The band changed their name to Bal Paré and begin recording independently. In addition, drummer Jürgen Weiss joined the band. The band name was based on the song Es war beim Bal Pare from the German chansonette Hildegard Knef, who was a musical influence along with bands like Kraftwerk, Depeche Mode, Erasure, Yazoo, etc. The first Bal Paré LP, Hamburg-Paris-Catania was released in 1982 on Konkurrenz. The members performed under witty pseudonyms for that record. Since they had a large fan base in Sweden, the second release (Metamorphose) came out in Stockholm on the Krautrock label. Around this time, a new member, Manfred Asmus, joined on keyboards and programming and Jan T. Krahn and Jürgen Weiss left the band. There were many tracks produced during this time that ended up unreleased. Much of the material from this selection of tracks was culled from unreleased sessions from the 80s with Manfred Asmus (and subsequently also collected on the Best Of CD-only release in 1996 on Tatra Records). Due recent demand, Matthias Schuster has reformed Bal Paré and has released several new records with much success. The original two LPs are long out of print and demand very high prices on the collectors market. This is the first time this collection has been reissued on vinyl. The opening track Rien is a perfect display of what synth pop is modeled after. Rich lead synth textures, male/female interplayed vocals, and electronic percussion. Though the entire record flows with ease and captivates the listener from beginning to end, other standout tracks include Palais dAmour, Die Idioten, and Meilleur Du Monde. This collection is absolutely crucial for fans of early new wave such as Deux, Moderne, Performance and other similar acts of the genre. The tracks have been lovingly restored by Matthias Schuster. Presented on high-quality 180-gram heavyweight vinyl." - Medical.

"Out now! Minimal Wave presents a 4 song 7" EP by legendary German band Bal Paré. The band was formed in 1980 by Kirsten Klemm, Manfred Asmus and Matthias Schuster. Schuster, the brainchild behind the band, is also known for these projects: Geisterfahrer, Im Namen Des Volkes, Jeanette Und Das Land Z, and Das Institut.
The four songs were recorded between 1981-1984 and are all previously unreleased. The songs range from really original, danceable dark synth with an early industrial feel to warmer synth pop, the last song featuring Kirsten on vocals. On colored vinyl with a hand silk screened heavy card stock jacket, a beautiful release, limited to 600 numbered copies. Special thanks to Kristamas Klousch for the cover photo!" -Minimal Wave

"Roman Holiday is the debut LP from Houston, Texas BALACLAVAS, following two 12-inch EP releases on the Phonographic Arts and Dull Knife labels. Roman Holiday is the groups finest recording to date, and showcases their diverse and unique sound. While the band makes nods to the dub punk of Public Image Ltd., the rhythms of Can, and the coldness of Killing Joke, they are able to keep things wholly unique and create an original, highly melodic sound. The band makes an awfully big sound for a 3-piece, supplementing their traditional rock setup with electronic drums and synthesizers." - Dull Knife.

"After exploring moodier sounds on 2011s Snake People LP, BALACLAVAS go back to basics with an aggressive kick to the teeth. The songs on Second Sight are some of the bands catchiest yet-think The Fall covering Samhain. Limited to 500 copies on one-sided clear vinyl, with a silk screened image on the B-Side nestled inside a clear picture disk sleeve with silk screened art." - Dull Knife

"Looped chunks of sound and feedback from microphones / saxophones, and screaming lo-fi electronics from a hacked remote control, chopped up into a vibrant collage. Includes three inserts. Edition of 287." -Balinese Beast.

"Intensely disturbed, dirty, smut peddling, Swedish slime hard rock-psych-madness from the deepest cesspool of humanity. Fucked up sub-human fuzz guitars; Depraved, screaming vocals; Gut rumbling bass and caveman drums; A nightmare of revolting sounds. Ball is hard rock from hell. This is the much-anticipated follow up to the bands acclaimed Fyre/Fyre Balls single (2015). Balls debut album is a deranged hard rock tour-de-force that will have you gasping and gagging. Ball was formed by the mysterious S. Yrék Ball, previously known as a strong force in the occult underground of Northern Europes secret societies. He has now decided to dedicate his will to music and the good life outside of the covens and black magic orders. Backed by his two older brothers, they form a fierce and fearsome power trio. These guys arent very talkative but say their main interests are - apart from banging on their instruments - booze, girls, horror comics, and monster model kits. The guys have finally been released from probation, so hopefully they will be able to do some live shows. Anyways, its a good thing they are still together and have recorded this - nothing short of a miracle considering the circumstances. " - Horny.

"You all may not be familiar with the project, but its William Sabiston of (part-time) Axolotl fame.. Dude is a WILD percussionist whos collaborated with tons of folks, but most recently in a group BULBS.. Im not even sure how to describe this release....... I suppose "freedom techno," a ficticious genre imagined by Roope Eronen, would be some sort of applicable term. William weavs all sorts of percussive sounds; bells, electronic drum pads, synth and acoustic drums into a complex whirl of pulses and clicks that will occasionally congeal into abstract loops, minimalist techno riffs, dub-zones or some sort of cohearance, before whatever beat hes imagined crashes in on itself... Those familiar with Williams solo track on the Axolotl CDR, "Oranur," will have some idea what to expect.. but then, Ive been listening to this thing for months and I still dont know whats happening when I listen to this thing. Limited to 150 copies." - JYRK.

"First time ever vinyl release of two extraordinary documents, dated 1971, by the legendary Balletto di Bronzo. On the Road to YS, is a landmark in Balletto di Bronzos history, because it is the demo recording made by the band in 1971 at Phonogram studios Milan, featuring the embryonic versions of two songs that would later be merged into YS (Introduzione and Secondo Incontro), with English vocals, and arrangements that are quite different than the final tracks. However, these demos will convince Phonogram to offer the band a record deal. In 1972 they released YS. The rest is history. Taken from master tapes, and remastered by Gianni Leone and Nicola di Gia in 2010. Also featuring a bonus track: an unreleased live version of La tua casa comoda." - AMS.

"On their debut 12 EP for Ever/Never Records, New York Citys Ballroom explode out of the gate with a whirlwind fury. Anchored by a tornado of vicious snare drum thwacks and excoriating guitars, "Corridor" is a threat made manifest by singer Eric Cecils warnings to "not let the sight disturb ya."
Ballroom are a powerful ensemble assembled from scattered remnants of other notable bands. Cecil (who also plays guitar) did time in Chicago punk standout Busy Signals, and has featured in numerous NYC bands since his relocation. The other axe-slinger, Kristian Brenchley, is a founding member of long-running scum rockers Woman, and also lays down the bottom end in Ever/Never labelmates Degreaser. Ballroom low-end is provided by Home Blitz Theresa Smith, while the drums are beaten into submission by Steven Fisher, leader of Wilful Boys and Dozers.
On "Dismal Sun," the band locks down on the central riff as guitar leads and frantic snare rolls keep pace with Cecils thousand-yard stare vocals. "Ill Keep Coming Back" points to a key influence -- the sun-scorched blacktop rumble of prime Scientists, Australias sultans of swamp. Smith doesnt let up on the gas, pushing Brenchley and Cecil into the realms of the unhinged.
Ballrooms debut features no mellow songs, sappy ballads or moments of false sincerity. "Nails Head" stands out for its approach to rock n roll as controlled demolition. This song will bite your hand off if you get too close. "Burnin Billy" could be a feedtime cut, but theres also echoes of the Gun Club and past Crypt Records powerhouses like The Beguiled. The epic final track, "Anti-Hole," coalesces all of Ballrooms excess energy into diesel fumes and takes it for a ride out into the open range, traversing peaks and valleys and mountains and digging for something deeper. Ballroom doesnt so much ride off into the sunset as reach up into the sky and pull it down into the dirt." - Ever/Never.
S/T by Ballroom

"Numerous threads run through the music of sound artist, composer, and producer Michel Banabila (born 1961), whose contemporary work ranges from adventurous electronic cross-breeding of chamber instrumentation through industrial rhythmic sampling and outwardbound modular synthesis to deeply elegiac drones. This set collects the Dutch artists instrumental 1980s work -- beautiful minimal loop-based electronica, classical-influenced pieces, and ambient drone music -- documenting his early years with material originally released as cassettes, vinyl EPs, and limited CDs. Banabilas piano echoes with a disarming simplicity, its atmospheric gestures bringing to mind the proto-minimalism of Erik Satie. The melody could easily be an additional hundred years old -- except for the fact that the refined patterning is something that likely only could have been pursued in light of the music of Michael Nyman and Philip Glass. The equipment on which this music was made, notably an early sampler, was limited in various ways, key among them the relatively circumspect set of capabilities, especially in terms of memory storage, and the lack of received performance techniques. The equipment was simple and it was new, and neither factor limited Banabilas ambition; on the contrary, the tools concentrated his imagination. If the classical pieces represent the Old World as framed by the new, then the more recognizably "electronic" work here is likewise most at home in a fictional place, an idealized zone. That zone is a quiet neighborhood in the Fourth World, to borrow Jon Hassells terminology, one in which digital tools render something that is, for all its technological dependency, ultimately a form of folk music -- an otherworldly folk music for another time. Fidgety percussion plays amid a fierce but restrained guitar line (there are echoes of Laurie Anderson and Adrian Belew). An ambiguous and elongated drone, thick with subliminal activity, beautiful in its toxic anxiety, suggests dire activity on the horizon. And yet the horizon wasnt dire. Quite the contrary; what was ahead for Banabila was a long string of releases, a healthy and well-documented career in which so many of these individual threads have been provided time and space to have entire records dedicated to their pursuit. This album of archival works documents the continuity inherent in Banabilas music. It is a map in musical form, tracing a path that crisscrosses back and forth between the Old World and the Next." - Bureau B.

"Banana Head and Rosemary Krust obsess over the basic structures of popular music, deconstructing the same formulas until they dissolve into reflective plainness. Banana Head nods to the wedding ballad, schmatlz indulged to the point of confusion, eagerness and imprudence, a distant relative way too old to be that hammered bleeding an oldie-but-a-goodie into monotone. Rosemary Krust draws out the essentials of guitar-drums-keys, abstracts, flattens them into hissing post-pop atmospherics. Paired up like two Moby Dicks of dopeness." -Goaty

"Since 1986, a time some of your favorite writers were busy discussing the genius of Govt Issue and debating the merits of early Gang Green (although today theyll have you believe silent CDs with a single electronic chirp at 35:25 are essential listening), Bananafish magazine has been devoted to undermining the dreams and aspirations of fun-killing explainers, rimless bifocald complainers, and horrid gothic sourpusses otherwise known as "the experimental music community." As usual, the magazine comes with a full-length CD containing exclusive music and sound contributed by the featured artists. Interviewed in this issue: Japanese droneur Diesel Guitar; electronic post-pioneer and composer Ilhan Mimaroglu; French publishers of silkscreened books Le Dernier Cri; homemade electronic noise duo Nautical Almanac; Los Angeles free music kingpins Solid Eye; lovers of Prince and improv sound collage Universal Indians; lovers of fantasy and free electronics Angst Hase Pfeffer Nase; and the hardest working percussionist in new music William Winant. Electronic deep theorist irr. app. (ext.), former Scissor Girl A.Z., and New Zealand solo freak Witcyst each contribute several pages of Dante-esque words and Bosch-like images. Last but not least, New Zealand filmmaker, animator, electricity demon Nigel Bunn gives Barbara Manning a guided tour of his gadgetry wonderland." - Tedium House. 1999 issue.

"More fun than sticking your feet down the toilet ... [Bananafish] features ... letters found in the street, interviews that breach journalist/patient confidentiality ethics, self-abuse raised to high literary art, record reviews like no other publication (though, believe me, some have tried), and coverage of the stuff you need to know about and no other damn mag will cover ... The only journal its a sin not to buy." --Bruce Russell, Corpus Hermeticum
"The latest issue in the Glass-Monroe-Beezer familys long-running magazine dedicated to that which cannot be spoken (but certainly read). Includes print and audio material from outsiders like Trey Spruance of Mr. Bungle, Peg Murray of U.S. Saucer, John Wiese of Bastard Noise, James Goode, Reynols, Panicsville, Vote Robot, Polar Goldie Cats (doing a feline version of Edgar Winters "Frankenstein," and "others." 164-page magazine with a 14-track CD companion." - Tedium House. 2000 issue.

"Publisher I. VERN BEEZER and editor M. MONROE deliver another juicy issue of their award-churning tome dedicated to the pursuit of the liesurely arts. In this gorgeously designed issue you get more than the goods on...
Christine Shields - Interview with this issues cover artist, the author behind surreal, dreamlike Blue Hole comic book, and banjo-player for Appalachia-influenced Grouse Mountain Skyride (also featuring Dame Darcy and Ian Christe). On the CD: "Monkey Goes to the Moon" and "The World Is My Home".
Mal Sharpe - Interview with author, jazz musician, and Man-on-the-Street interviewer most well known as half of 60s prankster duo Coyle and Sharpe, whose legendary put-ons have been released on CD by the 21361 and Thirsty Ear labels. On the CD: Coyle and Sharpe "Transporting Captured People".
Ana-Maria Avram - Translation of an interview by Costin Cazaban with Romanian acousmatic composer and Editions Modern recording artist whose uncompromising, demanding music gives heavyweights like Dumitrescu and Fernando Grillo a run for the money. On the CD: the 13-minute "Etude (I), computer assisted music."
Volcano the Bear - Interview by Neil Campbell with this mind-expanding UK surrealist quartet whose music straddles "a strange, ambiguous line between comforting and terrifying." Collaborations with Nurse With Wound and Aube, releases on United Dairies, Misra, and Pickled Egg. On the CD: "Phantom, tha will be done"
mad-cow.org - Interview with Dr. Thomas Pringle, webmaster of the Sperling Biomedical Foundations site containing almost 8,000 articles on mad cow and Creutzfeldt-Jakob disease, prions, bovine spongiform encephalopathy, scrapie, and numerous other crimes against nature that should drive any sane person to veganism.
John Crouse - Guest editorial plus one other previously unpublished text by this inspirational author whose writing has been described as "a non-stop torque conflating the distinctions of sky, people, forest, political costume store ⿦ He makes his own vocabulary rushing forward at full tilt, the camel of wow." On the CD: Crouse reads an excerpt from Lapses (O Books, 1995) with Stanley Zappa on sax.
Rats With Wings - Freeform essay and images by this emerging Australian noise artist with releases planned on Plate Lunch and Freedom From. On the CD: "Horse Eat Grass"
Volvox - Interview with two members of this Australian band with a posthumous CD released by Dual Plover. Ant-honey Riddell, the leader of the band, was brain-injured and comatose after a fall through a skylight several years ago. "Next to Milk," a chapter from his phenomenal novel Betrayed by the Senses (Menisicus, 1999), is also reprinted. On the CD: "Extraordinary Swordfish" amd "Milkhead," from Egg, Pluto Pup and You
Agog - Interview with Damien Bisciglia, noise artist and sculptor of Rohrshach-like, nightmarish creatures made of melted plastic and various found materials. On the CD: "Waters Black from the Dung of a Thousand Camels" - Tedium House. 2001 issue.

"Jason McLean Canadian cartoonist and Bananafish #17 cover artist talks with Robert Dayton about his hallucinatory style and techniques, and the effect on his work of education, interior decoration, comics, Fluxus and other abstruse art movements, and mental illness. On the CD: All-Star Schnauzer Band "No Onkyo" Hetty Maclise The first of a two-part interview with Anguss wife and collaborator, who recounts how they met, her art editorship at The Oracle in the 60s, homeopathic uses of LSD, and her life as an artist in Spain, Morocco, Mexico, San Francisco, and New York. Part two will deal with the Kathmandu years. On the CD: Universal Mutant Repertory Company "Iras Theater (NYC)" Lara Allen The exploits of a high school bad girl and the deprogramming subsequently inflicted upon her, problematic theatrical experiences, her series of consistently eerie paintings of old family photos, acting, and filmmaking. On the CD: The Ragtime Germs "Im Gonna Kill Myself" (audio) and Allens The Nightshade Family animation (MPEG) Jazzkammer Lasse Marhaug chats with David Cotner about mainstream Hollywood flicks, cult films, the Nordic singles scene (both 45s and dating), Norwegian culture, Viking blood, and communication through music and abstract sound with John Hegre, Tore Bøe, Del, and Origami Republika. On the CD: Jazzkammer "Take Me Off Yr Mailing List" Astro Hiroshi Hasegawa instructs Dylan Nyoukis in the ways of reaching "final paradise" and achieving "freedom from everything" via Moog synthesizer, field recordings and computers. He also discusses soundtrack work, collaborations with a whos who of Japanese space noise huffers, and the shocking truth about C.C.C.C. On the CD: Astro "Inamura Beach" The Towne Dandies Geoff Ellsworths homemade, props-heavy musical theater, the history of the band, paying the rent (which can involve processing ham), life under a microscope in a small town, and fledging jingle-writing venture Barefoot Hockey Goalie. On the CD: Towne Dandies "Underpants Road" (audio) and "Welcome Wranglers" (MPEG) Paul Dutton Canadian soundsinger and author talks about his work with 70s sound poets The Four Horsemen and free improv trio CCMC, literary efforts and visual poems, the nature of expression through sound, and various giants in the gibberish tradition, from Schwitters and the dadaists through Bob Cobbing. On the CD: Paul Dutton "Two Due" and "May Dues," Paul Dutton, Jaap Blonk, Koichi Makigami, Phil Minton, and David Moss "Esprit dEncore" Fake Party Carla Bozulichs Sound.-produced event at the Schindler House, self-described as "new music dressed up like a party meets a social event disguised as art," reimagined as comics. On the CD: "Fake Fake Excerpt" And the usuals�?� Reviews by Alesandro Moreschi III, Roland Woodbe, Stanley Zappa, Fred Rinne, and S. Glass; a letter from the publisher, found mail, guest editorial" - Tedium House. 2003 issue.

Limited edition of 333. Includes hand-numbered certificate. "A box-release covering the Band Of Holy Joys cassette released artistic output from 1983 to 1986, split on 3 records. Band Of Holy Joy were formed in the summer of 1983 when Johny and Max found a synthesizer in the cellar of the squatted New Cross Gate house they were living in. They started messing about on this synth and started writing songs on it. The songs however were very messy and the discovery of an old plastic harmonium in a local junk shop only added to the chaos. They brought in Brett Turnbull to bring a sense of order to the noise they were creating. Brett brought along Martine Thoquenne with him and the noise in the cellar started becoming very interesting indeed. A person who is much forgotten but quite instrumental in what went on was George Lovell. John Jenkins, a photographer who was around the house, was persuaded to trade his camera for a mouth organ, tambourine and various other instruments. The Band Of Holy Joy, a completed entity, started to create strange sounds and songs began to emerge. Cultural interests at this time were 8 and 35mm film, Bertol Brecht stage play and the electronic disco sounds that could be heard and bought uptown. Subjects that fired their imaginations were media scare stories, prescription medications, institutional living, big cities, bad glamor and self-preservation in vulnerable situations. There was an affinity and shared living space with the constructivist outfit Test Dept who took Band Of Holy Joy out on tour with them resulting in very early performances in Manchester, Sheffield and Retford. When they returned to London they entered the studio and began to record and assemble tracks to go alongside the porta studio recordings, cut ups, and collages they were creating at home. They also played with Einsturzende Neubauten around this time. The band was interested in the emerging cassette culture of the day. The first cassette was Favourite Fairytales For Juvenile Delinquents which was released in 1983 More Favourite Fairytales was recorded on a four track portastudio which was released in 1984. The band would often make and play their own instruments as well as make their own films. A special post-punk pre-acid house, a creatively perfect time to be young and full of noise, word and image in London." - Vinyl-On-Demand.

“RSD 2016 release -- late addition. Orange 10" in a beautiful gatefold sleeve with Babs Santini art and an insert. This record is the first collaboration between Nurse With Wound and Band Of Pain. Each artist has used the others music as source material to create a sumptuous feast for all discerning and adventurous audio palettes. There is no B-side, only the A-side and Side 1.The Band Of Pain side exclusively uses material from the NWW album A Sucked Orange (DPROM 101CD, 1990). It has been processed like a high street burger, with little meat of the original left. The result is a superb piece of musique concrète that sounds like it belongs in another century and another universe. The Nurse With Wound side uses various Band Of Pain pieces that are battered and deep-fried beyond recognition. The results were sprinkled with an array of exotic spices, additional sauce, and chemically enhanced additives. The final outcome is a dense, creamy, rich slice of vintage Nurse With Wound -- with a twist.” - Dirter Promotions.

2000 release. From the liner notes by Tim Perkis: "Ellen Bands work... lies in the path it takes, leading one from listening to recordings of natural sounds to, before one knows it, being immersed in a dense and complex field of sound which, though built completely from natural elements, is something quite transcendent and otherworldly. Bands music seduces us into perceiving the sensuous properties of familiar sounds by building dense and complex sound environments out of these elements. By sheer sensory density we are brought face-to-face with the physical, vibrational reality of sounds, bringing us to a state of attention to what we perhaps have lazily ignored through over-familiarity. The ever-active yet somehow static nature of some of these pieces, as they reach very rich sonic densities, start opening like rich noise sources, providing a field for auditory illusion and hallucination. Its as if our perceptual apparatus, brought to a high state of awareness by the odd combination of familiarity and extreme density, begins providing its own guesses about the meaning of it all -- aural hallucinations." From the liner notes by Brenda Hutchinson: "At the end of each of Ellen Bands pieces, we return to the “real world” as it was heard in the beginning. The sounds are now full of memories with the residue of where they have been. Its hard to hear a simple, familiar sound again without imagining what its “other life” is like." - XI.

"This is the second release in the re-launch of EM Records Thai music series. Paradise Bangkok, Soi 48 and EM have teamed up to deliver a series showcasing the extraordinary performances of some of Thailands greatest musical legends. For reasons unknowable, certain places in certain eras become hotbeds of music, fertile in their growth and flowering of musical talent. Thailand in the 1970s was such a place, and Dao Bandon is one of the enduring greats of that era. Born in the farm country of the Isan region, Bandon came from a poor family and was a monk during his teens, two great influences which shaped him, with his farm roots grounding the earthy heart of his lyrics, and his years of monastic chanting lending a unique resonance to his singing. After an apprenticeship with some of the greats of Thai music, Dao Bandon began to enjoy success leading his own band. The songs here, released in the 1970s, showcase the infectiously joyful Bandon groove, his mellifluous voice, and his captivating melodic sense. His lyrics deal with sex, love, marijuana, and the struggles of the poor, but no matter what he sings about, a sense of good cheer is always evident. Featuring parallel translations of the lyrics, in-depth liner notes, rare photos, and of course, great music, Man on a Water Buffalo is yet another example of Thai excellence from EM Records. English & Japanese text with Thai, English, and Japanese lyrics." - EM.

"This is the second release in the re-launch of EM Records Thai music series. Paradise Bangkok, Soi 48 and EM have teamed up to deliver a series showcasing the extraordinary performances of some of Thailands greatest musical legends. For reasons unknowable, certain places in certain eras become hotbeds of music, fertile in their growth and flowering of musical talent. Thailand in the 1970s was such a place, and Dao Bandon is one of the enduring greats of that era. Born in the farm country of the Isan region, Bandon came from a poor family and was a monk during his teens, two great influences which shaped him, with his farm roots grounding the earthy heart of his lyrics, and his years of monastic chanting lending a unique resonance to his singing. After an apprenticeship with some of the greats of Thai music, Dao Bandon began to enjoy success leading his own band. The songs here, released in the 1970s, showcase the infectiously joyful Bandon groove, his mellifluous voice, and his captivating melodic sense. His lyrics deal with sex, love, marijuana, and the struggles of the poor, but no matter what he sings about, a sense of good cheer is always evident. Featuring parallel translations of the lyrics, in-depth liner notes, rare photos, and of course, great music, Man on a Water Buffalo is yet another example of Thai excellence from EM Records. Housed in a standard jewel case. Includes a 24-page booklet with liner notes written by Soi 48 as well as rare photos. English & Japanese text with Thai, English, and Japanese lyrics." - EM.

"A reissue of the long out-of-print first solo record by American violinist Billy Bang (1947-2011), recorded at Gaku Gallery in New York on August 12, 1979. Originally released on Hat Hut Records in 1980. Distinction Without A Difference features Bangs own compositions, extrapolated at length in an intimate live concert, as well as traditional and improvised material. Remastered from original tapes and augmented by newly discovered recordings from the same concert. Part of the large cache of historical Hat Hut records that Corbett vs. Dempsey continues to release. Classic American creative music on CD for the first time. Features five previously unreleased tracks: Tracks 7-9 and 11 were recorded in Tilberg, Netherlands on October 29, 1978; Track 10 is a recording from the New York concert on August 12, 1979; "Subway Ride" feautures Giuseppi Logan." - Corbett Vs. Dempsey

"Originally released in 1970, this is extra-heavy Brazilian psych, with killer guitars and well-crafted original songs. This is one of the most sought-after albums from Brazil in the realm of hard psych, and you may already know one track from the Love Peace & Poetry: Brazilian Psychedelic Music album which is quite a standout. Every track is a winner. For many underground collectors this is the ultimate psych album, so it needed a good reissue. What Lula Côrtes is for underground folk and Sound Factory is for garage, Bango is THE psychedelic album together with Modulo 1000 ." - Shadoks.

"Recorded in Northern California in 1984 and released in a micro edition by the Creative Sound imprint in January of the following year, MARK BANNINGs Journey to the Light is a true lost gem of private issue New Age music, an impossible-to-find album that is more spoken about than heard and deserves to be recognized alongside established classics of the genre. Incorporating processed electric guitar, zither, voice and field recordings, it is unabashedly beautiful music-two side-long pieces that feel as though they may have always existed, hanging in the air like a morning fog over the Pacific. As archetypal to the genre as Bannings compositions might appear to be, Bannings music has a seriousness and intensity that was absent from much of the New Age scene as it existed in the early 80s. The albums first piece, "Everlasting Moments," charts a course between the weblike guitar cycles of Manuel Gottsching and the buoyant minimalism of Terry Riley. "A Sea of Glass" constructs itself similarly but navigates even calmer waters, providing a sensuous tapestry of ever-evolving guitar drones and radiant zither filigree. These heady, oddly prescient recordings were uncovered by New Age historian / figurehead DOUGLAS MCGOWAN (Yoga Records) and will appeal as much to fans of drone and ambient music as to those enamored with labyrinthine annals of American private press records, New Age as such, or with the recent renaissance of synthesizer-based experimental music. Remastered for presence and clarity by JAMES PLOTKIN, this special reissue is the definitive edition of Bannings transportive masterwork. Banning was recently featured on Light in the Attics genre-defining, critically lauded compilation I Am the Center." - Students of Decay.

"While Berlin. Germany isnt exactly nowhere, the amount of attention garnered by BANQUE ALLEMANDE since their inception in 2005 they might as well be from Quedlinberg. When I stumbled on them and was blown away by their songs, I started to wonder What the fuck is wrong with you people? Actually nothing: Banque Allemande (also known as dbZwoVier) have spent the last 5 years avoiding Berlins rock scene, chosing to play subway cars, a hamburger grill, and the like. They recorded a couple albums worth of fantastic songs, but never spread them around. What was posted on myspace got lost in the flood of bands there. They lurk in the shadows no longer. Banque Allemande has a relentlessness that reminds me of the Gordons and Rema Rema, the thuggish charm of Feedtime, and some 1-2-3-4 yucks of i dunno, name some late 70s euro punk outfit-but thats me hearing them. Their background is in the bands DISCOUNTER, TRUMPF AS, and MOSER INDIAN. Their ears are attuned to the hammering beats of Boys Noize. Or as they describe their sound: minimalistic, cut-down songstructures-yes please. rough sounds, straight beats-yes please. if what comes out is called punk-whatthefuck. Edition of 500 copies." -S-S

"A couple years ago, this fine label released the debut album by a mysterious Berlin band called Banque Allemande. Trapped in a city more known for dance music than two chord rock n roll, Banque Allemandes live shows were restricted to a few underground spaces and Berlins subway system. They recorded for themselves but outside of a small circle of friends they were unknowns. Well, now comes album number two, Willst du Chinese sein musst du die ekligen Sachen essen. Like their first, Willst du Chinese mixes marathon riffage with shorter blasts, centering on a two chord fung set to a galloping beat; a sound that brings to mind the Gordons, early Leather Nun, and even Big Black. However, it sounds like our German pals have been listening to a little Velvet Underground too. Like Eddy Current Suppression Ring, Banque Allemande take VUs pop rock side and punk it up a bit. Oh, the Banques also spare a moment or two for getting heavy. This one is a little more diverse than their first album but fans will be pleased, and those new to the band will be searching for the debut. Limited to 400 copies." - S-S.

"Cambodian Liberation Songs is a painful call from forgotten resistance fighters – it is a captivating and moving record. It works as a witness of Cambodian history, bringing to the world the breathless voice of the members of the resistance from the Banteay Ampil Band. Released in 1983, Cambodian Liberation Songs is a mysterious and overwhelming record. As a genuine piece of history, this “call from sorrow and fierce passion” makes use of a whole range of Cambodian music, from folk to rock, to express sufferings and complaints. On April 17, 1975, the Cambodian people, already crushed under national and international conflicts, were commanded by force to forget their own past – it was “annuum 0” of the Khmer Rouge calendar. Four years of genocide would follow before the start of a war opposing the Vietnamese army to the Khmers Rouges. Resistance units engaged in the conflict against what they considered as a Vietnamese invasion. This record, produced by a resistance group, was given the reference number “KHMER 001”. It was undoubtedly the first record composed and performed by non-Khmer Cambodians after the tragic events of 1975-79. The Banteay Ampil Band was created in the refugee camp of Ampil, at the border with Thailand. Musicians and female singers, who had hidden their talents during the genocide, then gathered around the composer and violinist Oum Dara to engage in a new struggle: the resistance. Oum Dara, who had been a composer for Sin Sisamouth and Ros Srey Sothea, among others, adapted several of his creations. It is therefore with a poignant charm that the Banteay Ampil Band binds together the golden age of Khmer music from the 1960s with the traditional repertoire and the context of their daily struggles. Violin, guitar and voices match together to produce melancholic and intense songs – the stirring tone of grief expressed by these resisters. The band went to Singapore to record Cambodian Liberation Songs, the only record of the “Khmer Peoples National Liberation Front”. - Akuphone.

"Cassette-only release in a limited-edition of 250 copies only. Baraclough are a London-based trio consisting of a classically-trained musician, a self-taught musician, and a non-musician. With a distinctive palette of woozy electronics, raw and processed recordings, combined with vocals and abstract sounds, Baraclough produce a unique aural aesthetic that is hypnotic yet agitating, intimate yet awkward. Since their inception in 2006, Baraclough have performed in a variety of bizarre locations such as a Kilburn rock pub and a former Turner Prize winners stock cupboard. In March of 2009, Baraclough released their debut album Hello Animal on Forris, their audio publishing cooperative. Members of Baraclough include: Paul de Casparis, Dale Cornish, and Eddie Nuttall." -The Tapeworm

"Repress, originally released in 2000. Surprise reissue of the most infamous and difficult to procure Sun Ra artifact; originally issued on Amiri Baraka (then LeRoi Jones)s Jihad label (home of the original Sunnys Time Now by Sunny Murray as well). This is the first release on the DC-based Sonboy label officially sanctioned by Baraka (and mastered from the original tapes that have been sitting in his basement all along). Other unreleased sessions from the Jihad library of tapes are still rumored to follow this release. Originally issued in 1968, A Black Mass was personally distributed by Baraka via a network of radical Black literature bookstores and was not commonly found in the channels that records of the time moved in. As a result, it has enjoyed a mystical status for the better part of its 30+ year existence, and many hard-core Ra completists have never seen a copy. A strange and revolutionary play by Baraka, with musical interludes by the Myth-Science Orchestra. Very, very historic. "The play A Black Mass was written in Harlem in 1965, much of it probably at my desk at The Black Arts Repertory Theater School at West 130th Street and Lenox (now Malcolm X. Blvd.). It was first performed at the RKO Proctors Theater, Newark as a companion piece to J-E-L-L-O, a satire on the Jack Benny show where Rochester turns militant. The reason it was Newark is because late in 1965, I decided to walk away from the BARTS because with the mounting internal strife, the phenomenon of diminishing returns had set in so disruptively that the vision of bringing Black Art into the community and creating what we were later to understand as Cultural Revolution could no longer succeed at that venue. Black Mass shows the heavy influence of the Nation of Islam even though, after Malcolms murder, I became alienated from that Nation, essentially as a means of registering my allegiance to Malcolm. Even the Jacoub story I had gotten from Malcolm when he was still more directly motivated by Elijah Muhammads teachings. Sun Ra was one of the most consistent and supportive artists associated with the BARTS. He was there several days a week, teaching all who would listen. At any rate, when I conceived of doing Black Mass to music, Ra was the only musician in my mind. Not just because of the otherworldliness of the tale, but the sensuous outness I knew Ra, with his Myth-Science Arkestra, would bring, which I felt would give a material life to the text. The work was recorded in The Spirit House, on the first floor theater we had created by tearing down the walls of my rented one-family house, just as we had done at The Black Arts. With Sylvia Robinson (Amina Baraka, a Newark artist who would shortly become my wife), Yusef Iman (a BARTS original), Newarks Marvin Camillo (he and Yusef are both gone now), and Barry Wynn (Amun Ankra), we tried to recreate the staged version which we had just done. And while there is something to be desired in our collaboration, the recording stands not only as a record of what The Black Arts was doing, but points I think into the future of the spoken word and the possibility of expanding what can be recorded and what kind of collaboration between word and music can come. The theme The Satellites Are Spinning is the dramatic musical mise-en-scène throughout, though close listeners will hear some of the music which characterized the Myth-Science Arkestra rising and falling through the mainly improvised music-drama. In total, the music is rich and evocative by itself. Heard with the text of The Black Mass, both connect and extend each other with a dramatic gestalt of Myth-Science music and the mythologized history deepens our emotional perception of what is being told. For me, re-heard with the benefit of study and another kind of thoughtfulness, it even projects a rationale thats more scientifically based, search-lighting some evasive facts of human history as well as projecting the premise which I have long held, that art is creation, and that we must oppose the creation of what does not need to be created." -Amiri Baraka, 9/6/99

"Alex McKechnie and Alex Burrow are Barbed. Based in London, the Alexes are known for their witty audio collage work (see Barbeds 1994 full-length CD, released by These Records). Since the time of their debut, they have contributed to numerous compilation releases, including those for Lo Recordings, Staalplaat, Leaf, Kleptones, and RRRecords, among others. Most recently, Barbed have appeared on the People Like Us "remix" album doing what they do best.
Barbeds 7" for Elevator Bath (their first ever single release, and their first new individual release in quite some time) features two brand new pieces.
On black vinyl with full-color jackets, in an edition of 800 copies." - Elevator Bath.

"Patterns Of Consciousness is the powerful second full-length from analog synth composer Caterina Barbieri. Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieris careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition. Patterns Of Consciousness was originated by ideally infinite permutation of patterns through a disciplined and exclusive use of machinery (an indexed quad sequencer and a harmonic oscillator). By means of subtraction, addition, and jitter operations, Barbieri derives a myriad of interlocking patterns extracted from an original matrix of just few harmonic archetypes, gradually developing the potential of the reduced constellation of pitches and durations determined in advance. Pushing the limits of her monophonic instrument, Barbieri seeks out counterpoint from a single oscillator through the exclusive use of additive synthesis, fast progressions, extreme melodic jumps, and intricate delay lines. She develops an illusory counterpoint style influenced by her passion for baroque lute music, where fast arpeggios are employed to get effects of sustained chords and overcome the limits of fast decay timbres. But the highly formulaic and germinative style of these pieces is also influenced by Indian classical musics vision of sound as an agent of change and recreation. Patterns are understood as the cells of an organism or the units of a language: a limited set of signs that can be recombined to always generate new possibilities. In POC, repetition and permutation of patterns are explored as tools to reconfigure perceptions and bend emotions, approaching sound as a medium to develop and master our own perceptual art. Emerging machine intelligence, human desire of pattern detection and the understanding of music as a cognitive feedback between humans and technology are primary sources of inspiration for this work. All the compositions share a common fatalistic tension, an impossible running, a restless rush - somewhat nervous somewhat ecstatic - to grasp a meaning out of fragments. Every piece in POC is conceived as a generative entity, a dynamic and living being able to develop its own organic laws, whose inner potential of growth and change is embedded in the initial instructions of the sequencer. Music produced by Caterina Barbieri between September 2015 and January 2016. Mixed at EMS (Elektronmusikstudion) in Stockholm. RIYL: Alessandro Cortini, Eleh."

"Caterina Barbieri on Patterns Of Consciousness: "A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centres, where our psychomotor attention is attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we werent aware of or simply suggesting that we access only a fraction of our psychic potential. The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound." - Important.

2016 repress. "Vertical is Caterina Barbieris debut album and it was composed for vocals and Buchla 200 modular synthesizer. Vertical takes a meditative approach to primary waveforms and the polyrhythm of harmonics, stretching the boundaries between drone, minimalism and techno in multichannel systems. This minimalistic focus arises from the polyrhythmic and stratigraphic potential of voltage-controlled sequencers. Synthesis, drone and immersive listening are three fundamental conditions to enhance an advanced auditory art, not based on extrinsic links but solely built on the experience of the spectrum, able to develop our very limited ability of perceiving the vertical domain of music, involving us in a holistic way. Caterina Barbieri (1990) is a composer and performer of electro-acoustic music. Mostly interested in modular synthesis, three-dimensional spatialization and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms and the polyrhythm of harmonics. She received a degree in classical guitar and electro-acoustic music at the conservatory of Bologna, Italy (plus an exchange program at the Royal College of Music in Stockholm, Sweden) with a thesis about time, space and spectrum in vertical music. Shes currently attending a Bachelor in Literature and shes active as an audiovisual artist, acousmatic composer and guitarist. Her work has been commissioned and performed in festivals and venues of experimental music." - Cassauna.

"In early 2008, Bardo Pond and Three Lobed Recordings teamed up to assemble Batholith, a collection of tracks that were close to the bands heart but for various reasons had never been released. The result was an extremely cohesive and vital statement that was positively received by both old and new Bardo Pond fans. During the compilation of Batholith, the band had to agonize over the wealth of material that they were sitting on in constructing the ultimate tracklisting -- there were too many good songs. The band approached this problem by structuring two sister albums, Batholith and Peri, each possessing their own musical themes and each fully capable of standing independent from the other. For this reason, Peri is every bit as potent as its predecessor. The meticulous sequencing of Peris five tracks provides a classic Bardo Pond experience. While the initial description of the material might lead one to think that these tracks are outtakes or cutting-room floor type material, neither conclusion could be further from the truth. The band is quite excited to finally see all of the material on Peri venture into the public. For example, Chicken Gun will be recognizable to the bands longtime fans. A former live staple from 1996 through 1998 (even making an appearance in the bands set at the first Terrastock festival), it is a propulsive and fiery rocker every bit as monumental as some of the bands classics such as lb. and Tommy Gun Angel. The Path is a subtle number featuring floating flute work from Isobel Sollenberger. The album-closing Silver Pavilion is the sort of meditative psychedelia that has been Bardo Ponds calling card over their lengthy career. The track dates to the bands extremely fertile, yet barely documented, period between the release of Dilate and On the Ellipse. ;Silver Pavilions slow, enveloping build properly see the listener to the door and is reminiscent of such flawless Bardo closing tracks as RM, Aldrin and Night Of Frogs. Peri is pressed on 180g RTI vinyl and is housed within heavy old-style one-pocket Stoughton gatefold jackets bearing new collage work from Michael Gibbons." -3Lobed

"The sixth studio album from Philadelphias foremost purveyors of psychedelic space rock. Appearing for the first time on double heavy weight vinyl and with brand new artwork by Joy Feasley, Bardo Ponds 2006 album Ticket Crystals exemplifies the quintets signature doom tempo, multi-layered drones while introducing a lighter pastoral feel." -Fire.

"Originally released on CD in 2004, this new edition of 4/23/03 is now pressed on two slabs of American vinyl pressed by United Record Pressing and housed within a handsome two color silkscreened gatefold jacket bearing artwork replicating that from the albums CD incarnation. The album, from an edition of approximately 700 copies, presents the entire contents of the original CD version plus a new additional track from the original record¬ing sessions. All copies of the 4/23/03 2xLP are accompanied by the hour long 4/25/03 CD presenting a blistering collaborative live set from Bardo Pond and Tom Carter recorded at Philadelphias Tritone two days following the albums studio sessions and gloriously exploring like-minded sonic territory." -3Lobed.

"Previously unreleased UK demo album from 1969. The loudest band from Hull in the 60s, Bare Sole played raw, in-your-face psychedelic hard rock and heavy blues. Bare Soles brief existence at the tail-end of the 1960s reflected the realistic trappings of their geographical situation. Musical icons such as Mick Ronson and Robert Palmer would eventually rise to fame outside of their native Hull, but Bare Sole sadly only managed a handful of out-of-town gigs and a tour of US air bases in Germany. As it was, their entire existence lasted just over a year, but at least their inspired musical legacy has survived thanks to a 1969 recording session held at Fairview Studios. Assisted by writer and producer Keith Herd and galvanized by an enthusiastic local poultry farmer, Bare Sole captured their primitive garage mannerisms in one fiery recording session. Aside from Deccas rejection of their demo tape, Bare Sole continued playing alongside acts such as Family, Status Quo, The Move, and Small Faces, but the inevitable decision to quit came in 1970 and their story came to an end. Flash represents Bare Soles entire recorded history, taken from the master tapes of their 1969 recording session. Their seductive garage romp boasts explosive doses of fuzz, wah-wah, and Farfisa organ, a sound that recalls an earlier and more primitive sound, but a sound that also may have unwittingly sealed their fate. Master tape sound. Detailed liner notes. Recommended for fans of Blue Cheer, Iron Claw, Stack Waddy." - Sommor.

"Previously unreleased UK demo album from 1969. The loudest band from Hull in the 60s, Bare Sole played raw, in-your-face psychedelic hard rock and heavy blues. Bare Soles brief existence at the tail-end of the 1960s reflected the realistic trappings of their geographical situation. Musical icons such as Mick Ronson and Robert Palmer would eventually rise to fame outside of their native Hull, but Bare Sole sadly only managed a handful of out-of-town gigs and a tour of US air bases in Germany. As it was, their entire existence lasted just over a year, but at least their inspired musical legacy has survived thanks to a 1969 recording session held at Fairview Studios. Assisted by writer and producer Keith Herd and galvanized by an enthusiastic local poultry farmer, Bare Sole captured their primitive garage mannerisms in one fiery recording session. Aside from Deccas rejection of their demo tape, Bare Sole continued playing alongside acts such as Family, Status Quo, The Move, and Small Faces, but the inevitable decision to quit came in 1970 and their story came to an end. Flash represents Bare Soles entire recorded history, taken from the master tapes of their 1969 recording session. Their seductive garage romp boasts explosive doses of fuzz, wah-wah, and Farfisa organ, a sound that recalls an earlier and more primitive sound, but a sound that also may have unwittingly sealed their fate. Master tape sound. Detailed liner notes. Recommended for fans of Blue Cheer, Iron Claw, Stack Waddy." - Sommor.

"sick llama presents more from
behind the scab curtain. the elevator lights went out and the only
other dude in there w/ me kept complaining about the silence. said
at his crib 13 televisions and radios would be on all the time,
25/8, all set to different stations. he busted me this tape. edition
77." - Fag Tapes.

"Recorded by George Mitchell in 1978, this LP was originally released by the Southland label under the name William Robertson. Due to Cecils superstitions and legitimate fears of the taxman, he insisted that it come out under a false name. Cecil was an unusual blues musician, giving each song its own feel and rhythm. Another underrated American original. This is a co-release with Big Legal Mess Records." -Mississippi

"Somewhere, the gods of psych are smiling. Gazing down on this
Northeastern all-star unit, just feeling the music. Bark Haze is
comprised of Andrew Macgregor (aka Gown), Thurston Moore (of Sonic
Youth), and on this recording Pete Nolan (of Magik Markers). Gown and
Moores dual guitars and in constant conversation. There must be a
psychic barrier between these dudes minds, nothing sounds forced, only
ever flowing. Nolan keeps the time with militant precision acting as
the foil for guitar development. A thirty-minute track recorded around
the same time as All Tomorrows Parties last winter stretched across
two sides of the tape. Infinite psyched out oblivion like a more
sober Lambsbread. In a numbered edition of 200 copies with double
sided red eyed tree art and tape labels by Maya Miller of Heavy
Tapes/Religious Knives." - Arbor.

"This exclusive CD release is entirely different from the LP release on Important which is also untitled. The Bark Haze is primarily a guitar duo of GOWN (nom de plume of one Andrew Macgregor) and Thurston Moore (Sonic Youth etfuckingcetera). Auxiliary members have been know to include Pete Nolan (Magik Markers, Virgin Eye Blood Brothers, Cops, et al). Their name came from a mis-hearing of the radical early 70s R+B group the Bar-Kays and from that moment the concept of mis-hearing and allegiance to presenting the mis-hearing as some open-ended musical course became The Bark Hazes identity." - Important.

"This limited edition LP is pressed in an edition of 1000. These are completely different recordings than The Bark Haze compact disc, also on Important Records. The Bark Haze is primarily a guitar duo of GOWN (nom de plume of one Andrew Macgregor) and Thurston Moore (Sonic Youth etfuckingcetera). Auxiliary members have been know to include Pete Nolan (Magik Markers, Virgin Eye Blood Brothers, Cops, et al). Their name came from a mis-hearing of the radical early 70s R+B group the Bar-Kays and from that moment the concept of mis-hearing and allegiance to presenting the mis-hearing as some open-ended musical course became The Bark Hazes identity." - Important.

"The Monolith series combines two like-minded artists on the same one-sided, reverse-cut LP by hard-panning one recording to the right and the other recording to the left. By adjusting the panning controls on his or her turntable, the listener is free to control the degree to which the two recordings melt into one. Each edition in the series is limited to a one-time pressing of 500 picture disc LPs featuring a Monolith inspired painting by NED CLAYTON and includes a CD with individual songs and stereo mixes. Monolith: Jupiter is realized by two fre(e/ak)-jazz duos: TRAUM and BARK HAZE (GOWN and THURSTON MOORE). On the right Bark Haze explores the interplay between two unbridled electric guitars. This recording focuses on restraint: an intimate melding of the minds through careful abuse of the strings. On the left Traum delivers a continuation their from the gutter ode to jazzs influence on noise." -Music Fellowship

"This animation tells the animated tale of Barkley and that dogs life with his band the Barnyard Critters. Barkley is a rocker and goes through the usual tribulations of band life, quits the band and goes on a drunken voyage of discovery into a sea of confusion. While away the evil record label (IM Fang) finds a devilishly constructed replacement. Watch as Barkley combs his way back to the battle of the bands and lays it all on the line. Animation on the this release is hand drawn in parts, uses 3-D animation in others, and features live action characters in exciting sequences reminiscent of the Banana Splits. This will appeal to fans of the Cartoon Network, Spongebob, and the like." - Load.

"Evan Caminiti (guitars, vocals) and Jon Porras (guitars, vocals, drums, harmonium) met in San Francisco in 2006 and immediately started playing music together. Over the next four years, the two gradually sculpted a vast collection of hazy desert sky meditations -- ominous, barren expanses of music for desert walks at dusk, and dark, pastoral passages embellished with psychedelic and atmospheric wash. A mixture between devotional ragas and dusty stomp with atmosphere and production that references shoegaze and black metal influences. Ancestral Star, their third LP, marks the evolution of the Barn Owl sound into a territory where it has become wholly its own, transcending the sum of its influences and taking on a life of its own. At the same time, it is a more realized extension of that sound. Caminiti and Porras paid close attention to the composition of each track and its flow within the album as a whole. Engaging throughout, every moment contributes to an overall feeling of mysterious desert expanse and a sonic narrative that unfurls like a cinematic metaphysical western." -Thrill Jockey. 2011 repress. Gatefold LP version.

"Evan Caminiti (guitars, vocals) and Jon Porras (guitars, vocals, drums, harmonium) met in San Francisco in 2006 and immediately started playing music together. Over the next four years, the two gradually sculpted a vast collection of hazy desert sky meditations -- ominous, barren expanses of music for desert walks at dusk, and dark, pastoral passages embellished with psychedelic and atmospheric wash. A mixture between devotional ragas and dusty stomp with atmosphere and production that references shoegaze and black metal influences. Ancestral Star, their third LP, marks the evolution of the Barn Owl sound into a territory where it has become wholly its own, transcending the sum of its influences and taking on a life of its own. At the same time, it is a more realized extension of that sound. Caminiti and Porras paid close attention to the composition of each track and its flow within the album as a whole. Engaging throughout, every moment contributes to an overall feeling of mysterious desert expanse and a sonic narrative that unfurls like a cinematic metaphysical western." -Thrill Jockey

"Mesmerizing album of shamanic acoustic dread/bliss by this killer and evolving San Fran squad. This is a re-issue of the tour CDR they were slanging back when they rolled through the CURIO on a west coast cruise a
couple months back. An NNF full-length is looming, were amped as heck. Silkscreened, spraypainted, and stamped arigato paks tied with ribbon. Edition of 147." -Not Not Fun.

2011 repress, limited to 300 copies; originally a 2008 release. "Since first bearing witness to Barn Owls mythically desolate amplifier alchemy last year, weve been rabid fans/fanatics. But like lots of badass bands, BO are a rolling stone, heavy on the transformation tip, and the BO of today is an altered beast from the one that folkily fingerpicked Bridge To The Clouds and their self-titled disc way back when. And in case were not being clear: this is a beautiful thing. From Our Mouths A Perpetual Light burns with the sun-dead majesty of a Death Valley burial ground, all wasted waterless expanse and cracked earth smoke blowing in the dry wind. Heavy western drone revelations bleed into forlorn guitar drift, downcast percussion plods across the plain, a skull on its side lies in the sands. Evan Caminiti and Jon Porras have somehow flawlessly evolved Barn Owl into a blazing new universe, and From Our Mouths is the first mission statement from their new spectral/aesthetic outpost, a stunning and timeless eight-song suite of grim cinematic electricity. Tune in, drop dead, rot on. In swank matte jackets with four-armed demon warrior-yogi artwork by the band." - Not Not Fun.

"Lost in the Glare is Barn Owls second album for Thrill Jockey, and follows quickly on the heels of their acclaimed 12" EP Shadowland. Like Shadowland the album was recorded to tape by Phil Manley in San Franciscos Lucky Cat Studios. Lost in the Glare is made up of material composed over the course of a year and recorded in sessions throughout the winter of 2011. At the heart of the albums sound is the dual guitar interaction between Caminiti and Porras, a spiraling web of interlocking gestures that give way to bone rattling, monolithic progressions and dusty drifts. The mostly finger picked guitars weave in and out of each other in precise movements that recall the hypnotic influence of American minimalists. The harmonium that was prevalent on previous recordings has been replaced on Lost in the Glare with the undulations of a Farfisa organ. The songs here are deep, cosmic excursions. Rich in dynamics, the record possesses a transcendental tone through both a densely layered combination of electric and acoustic instruments and walls of melting amplifiers and feedback alchemy. The lines between strict structure and ordered chaos blur as third-eye opening e-bowed drones explode like beams of light and corrode into crumbling distortion, baking tones that sizzle like brittle bones left in the desert sun." -Thrill Jockey

"The new material on Shadowland takes inspiration from the devotional sounds of Popol Vuh and Alice Coltrane and also possesses the pitch black weightlessness of Fushitsusha and early Tangerine Dream. With waves of guitar soaring over liquid synthesizers tones, Barn Owl combine lush, melancholic serenity with cacophonous, deconstructed guitar to exhibit a visceral meeting of light and dark. Cyclical themes were explored heavily: mantric guitar processions, swelling bass waves, and fluttering tremolo hypnotism. Shadowland was recorded by Phil Manley (Trans Am) in San Francisco. For the overall sound of the EP, the band focused on using monolithic stacks of tube amps and sent guitars and synthesizers alike through them and utilized intense amounts of stereo delay." -Thrill Jockey

"The Conjurer is the latest offering by Bay Area duo BARN OWL. This new long player finds EVAN CAMINITI and JON PORRAS finally (by way of an actual recording studio) documenting something that is a bit closer to their very heavy live sets, with expanded peaks of white light distortion and enormous valleys of bottom end. Each side opens with a brief funeral dirge to set the mood, a precession of bare bones drum beats and bell like guitar statements that bridge the gap to the wider open spaces of the almost side long "Across The Desert Of Ash" and "Ancient Of Days." It may seem obvious, or even a little overwrought, but it has to be said that these guys really do evoke all kinds of cinematic drama with their music. Apocalyptic westerns, bleak melodramas, mother nature fever dreams, it all seems to come to mind amid the evening guitar passages, incantations, flute tones, and finally, the solo piano that emerges lost among the electric mayhem to close the album. Considering the amount of terrain, The Conjurer is far from being scattered or rushed sounding. The record as a whole moves at a crafted even rhythm, slowly merging from one scene of violence to the next of almost silent recovery, then back up the mountain again. An edition of 500 LPs, half colored deep red, half black. Cover etching by Evan Caminiti." -Root Strata

"The Conjurer is the latest offering by Bay Area duo Barn Owl. This new long player finds Evan Caminiti and Jon Porras finally (by way of an actual recording studio) documenting something that is a bit closer to their very heavy live sets, with expanded peaks of white light distortion and enormous valleys of bottom end. Each side opens with a brief funeral dirge to set the mood, a procession of bare-bones drum beats and bell-like guitar statements that bridge the gap to the wider open spaces of the almost side long Across The Desert Of Ash and Ancient Of Days. It may seem obvious, or even a little overwrought, but it has to be said that these guys really do evoke all kinds of cinematic drama with their music. Apocalyptic westerns, bleak melodramas, mother nature fever dreams, it all seems to come to mind amid the evening guitar passages, incantations, flute tones, and finally, the solo piano that emerges lost among the electric mayhem to close the album. Considering the amount of terrain, The Conjurer is far from being scattered or rushed sounding. The record as a whole moves at a crafted even rhythm, slowly merging from one scene of violence to the next of almost silent recovery, then back up the mountain again. Cover by Evan Caminiti." - Root Strata.

"Barn Owl has always specialized in devotional darkness, pushing desert rock into previously unexplored, murky territories. V marks a shift in approach for the duo of Jon Porras and Evan Caminiti. The pair augmented their arsenal of guitars and effects with an array of electronics, vastly expanding the albums sounds and textures. Special attention was given to implied rhythms nestled within dense slow building environments, giving the album a rhythmic presence, albeit one that is buried beneath intricate layers. Theirs is a ghostly rhythm, almost beyond reach." -Thrill Jockey.

"Full length collaboration between Ellen Fullman, Theresa Wong, and Barn Owl produced by The Norman Conquest. Barn Owls extended drones and Theresa and The Norman Conquests strings are the perfect accompaniment to Fullmans Long Stringed Instrument; a product of her own invention. This is an album of deep material of a complexly emotional nature. Eternal ragas for the infinite now. Recorded in the pastoral setting of the Headlands Center For The Arts." -Important

"Newest Blackest Rainbow hot on the heels of some truly killer releases from the artists involved, both of whom seem to have really pushed their sounds and vibes to new levels this year. Barn Owls side has been mastered by local jammer Ben Nash, and its three tracks of sparse drone layered with bleak guitar epic-ness, tingling chimes, and dark mountainous whispers. The guitars here sound delicate and beautiful, but it remains bleak and empty, if you enjoyed their LP on Not Not Fun, then this is a real treat. Tom Carters 16-minute Train Kept follows pretty damn nicely from his recent Shots At Infinity releases on Important. A far cry from his more psychedelic folk experimentations, here he slashes and riffs like many a legend, and maybe, just maybe, its a slight tribute to a certain band, too? This is a fully wild piece of work. Black sleeves, pasted stark landscape cover, with an insert of liner notes. Limited to 380 copies." -Blackest Rainbow

"Contemporary group from Providence on ESP-Disk! "Charles, Barnacleds new full-length, and first outing for ESP-Disk, is a rollicking, propulsive offering featuring the band in some of its most intricate formations. This deftly arranged record follows Barnacled as it tightens itself into high corners, only to purposely fall down, find new ground, and pick itself back up again. This work is highly playful, even at its most intense -- and it does get intense, with saxophone battles surging over electronics and highly distorted accordion fire offerings. Then all of a sudden the sound drops out, save for a plaintive lone bassoon call, or static from a short-wave radio that sounds soothing by comparison. Intertwining rhythms and melody lines then revolve around a pulse that creates a new frame of reference while also complicating it. This music invites deep listening, and rewards the curious. Often it is simply mesmerizing, essentially what adventurous minds have come to expect from the legendary ESP-Disk oeuvre." -ESP-Disk

“Faith Coloccia and Alex Barnett return to Blackest Ever Black with their second duo album, Weld; working with synthesizers, effected vocals, raw electrical noise, field recordings, EVP techniques, tape manipulation, and drum machines to create a music at once lucid and mystic. Its songs embody various experiential philosophies and objectives: searching for the sacred in the forgotten and supposedly useless; exploring the meaning of "natural"; listening for the pulse of the ancient; using technology both to materialize memory and to dream a folklore for a future age. Coloccia and Barnetts ambition is apparent early on in the stately, medievalist keyboard/choral poetics of "Truth Teller," moving through the agitated wormhole techno of "Dreamsnake," to the white light-emitting, near-symphonic plainchant of "Healer." The zero-hour synth pulsations of "Blight" are first interrupted, then engulfed, by an extra-terrestrial broadcast of piercing bell and glass-tones; "AM Horizon" is pitched bewitchingly between Prophet-5 pulp futurism and earthbound, atavistic dread; the baroque harmonic sequence of "Agate Cross" disintegrates at its very climax, cooling and dissipating into a deep star-field of pure tone. "Ash Grove" and "Rose Eye" are exhilarating exercises in contemporary musique concrète; complex timbral constructs in which Coloccias disembodied glossolalia, swooping strings, and other nameless sonic spectra conspire to evoke extra-dimensional space and the highest spiritual drama. Weld speaks its own distinctive dream-language, but it comes highly recommend to anyone enamored of the brittle sci-fi synth-scapes in Caroline Ks Now Wait for Last Year, the amorphous electronics of Beatriz Ferreyras work, Conrad Schnitzlers more gothic moments, and even the gravest metaphysical reckonings of a Stockhausen or a Rózmann.” - Blackest Ever Black.

"Penultimate Press is proud to present the debut vinyl release from Derek Baron. From Chicago, Illinois, now residing in Queens, New York, Barons work muses on the interior and exterior via explorations of history, memory, listening, domestic ambience and the collective understanding of sound as amorphous matter. Crooked Dances presents a series of Erik Saties piano works as played in a shared flat with various interruptions by those who also contribute to the electricity, water and internet bills. Limited to 300 copies. Crooked Dances comes in a high gloss sleeve designed by Maja Larson with bland photographs supplied by Baron. This is a melancholic, playful journey rooted firmly in the real." - Penultimate Press.

"Just as 2014s widely lauded Hidden Tapes marked a turn from saxophone improvisation to an embrace of what the Potlatch label referred to as "music for speakers" or, more elegantly, "sound diffusion," Carnets is not only another leap forward, but could easily be considered Marc Barons masterpiece. Carnets is a dynamic interplay of degraded magnetic tape and unsettlingly normal everyday recordings dating back to Barons childhood, showcasing Barons deftness in crafting compositions that leave the listener with more questions than answers. Attempts to pin down his methods are forestalled at every turn by the abstract yet suggestive nature of the pieces. Personal memories become a platform for a series of inscrutable, elegantly arranged compositions. Barons misused tapes carry evocative resonances that linger hauntingly in the mind of the listener, begging to be heard again. This record is the analog debut for Marc Baron, and his hand-constructed audio works sound completely alive on this vinyl pressing mastered by Jason Lescalleet. Each slab of 150-gram vinyl comes in a special black poly-lined dust sleeve inside a 300-gsm white-on-white art board, all lovingly protected by a polyvinyl bag. The front cover bears a striking photograph of a sculpture by French artist Loïc Blairon, something very intimate and personal for Marc Baron. This album is truly something very special." - Glistening Examples.

"Light blue clear vinyl with yellow effects.
Kawabata Makoto : Guitar. Bass. Synth. Percussion Keyboard. Voice;
Kawagishi Tetsushi : Guitar. Bass. Keyboard. Percussion;
Iwaki Yasuo : Percussion. Keyboard. Synth. Guitar. Bass. Organ. Trumpet;
(Guest) Hirashima : Guitar. Bass.
recorded at R.E.P. studio, Horyuji sound house 1980.
Originally issued on cassette on the R.E.P. label in the 80s in very limited quantities, then re-issued on a 10 CD-R box set entitled "Makoto Kawabata early works 1978-1981" (ltd. ed. 100 copies only, numbered, sold out)" - QBICO.
"This is a music that i originally composed for a play called Alice in Nakedland. The play was some erotic expressionist nonsense, sort of like Alice in Wonderland and Dr. Caligaris Crime added together then divided by two. My script was used, but my music was rejected by the other staff members" - M. Kawabata.

"Chau, Flacos lost album, was an urgent idea that, somehow, Hamlet and I put into his tight list of things to do and unresolved emotions stemming from his sudden decision to go to Europe in 1972. We considered that Jorge Flaco Barral, one of the most charismatic and different artists of the emerging movement of rock, blues and related Montevideano of the early seventies, had to leave a personal, personal legacy, beyond his previous collective works with Opus Alfa and Days Of Blues (Dias De Blues). We knew many of his songs were hidden, except couple of them had appeared publicly in few occasions. Most of the songs show very personal subtlety and lyrical sensitivity that the Flaco had already demonstrated with his previous groups. It was about Flaco recording the songs that he wanted to leave the way he considered to be right. In the end, what remained was a unique document of a different and original artist, an unfinished product that lacked time but what is a reflection of the urgencies we all lived in those days." - Esteban Leivas.

"Marc Barrecas seventh solo album for Palace of Lights extends his work with a broader and deeper palette of synthesized and sampled sound, including sources as diverse as prepared guitars, pianos, Indonesian metallophones and glass harmonica. The music of Aberrant Lens employs long MIDI delays, synced MIDI processing via MAX for Live and extreme warping of disparate looped sound sources driven into entirely new states. The results are new, coherent aural structures: music that questions traditional definitions of ambient and electronic forms. And, to the educated ear, within this search for innovation and experimentation Aberrant Lens reveals many of Barrecas earliest influences. Even when integrated in thoroughly non-retro compositions, the hints of homage to Cluster and the first Fripp & Eno releases inhabit these twelve new settings. Marc Barreca has been creating and performing electronic music since the mid-1970s. His 1980 album, Twilight, was one of the earliest releases on Palace of Lights. His cassette-era album Music Works for Industry is being reissued by the RVNG spin-off Freedom To Spend, and his early cassette work is included in the upcoming VOD box set American Cassette Culture, which also features Marcs early electronic music group Young Scientist. His work is included in the collection of The British Library." - Palace of Lights.

"Released in 2015. The impulse to invent and realize new music, new forms and a broader comprehension of sound has proven to be a permanent aspect of Marc Barrecas work. From childhood music lessons, to tape and electronic experimentation with his group Young Scientist, to becoming an early participant in cassette culture and the independent movement, Marc has developed a large body of work that moves with and ahead of the changes that music has undergone in the past four decades. With Beneath The Mirrored Surface, Marc continues his quest to create deep and shifting aural spaces by merging the abstract rhythmic warmth of early analog synthesis with the complexity and timbral beauty of acoustic instruments and natural sound. Barreca extracted and reshaped rhythms and textures from field recordings, decades-old world folk recordings and acoustic instrument loops. These sources were first converted into MIDI data using Ableton Live and then transformed and manipulated with Max/MSP. Hundreds of these source clips were then blended and arranged with layered and looped digital synthesizer and sampler tracks. The result is a dense, rich world of refracted light and shifting shadow. Mastered by Taylor Deupree." - Palace of Lights.

"Marc Barrecas Music Works for Industry is a layered assertion. An economic mantra for the mind to spin, like the many loops on this recording, or churn, as gears of some godhead machine. From the pool of playful compositions, a social subtext appears - a somewhat sardonic riposte to the commercial and cynical abuse of music and musicians. The work profits the listener over industry. Said another way, its motivations are more generative than lucrative.

No longer than four minutes, no shorter than two, each piece on MWFI is a fragment of modern life. Propaganda transmitted between the click of the remote or the turn of the dial. Friend and collaborator K. Leimer checks Cluster, Steve Reich, IannisXenakis, and Morton Subotnick as esoteric influences on MWFI in the albums liner notes, while one might imagine UptonSinclair, Studs Terkel, or Chris Anderson as egalitarian influences.

Made with musicians, performance artists, and a bespoke instrument maker, Barreca combines multiple disciplines into a collective, industrious whole. An experiment fabricated in the synth and tape studio at the artist-run alternative space and/or (Seattles version of NYCs The Kitchen), Barreca manipulates dynamic sound sources into tidy, minimal arrangements using synthesizers, modified instruments, tape looped voices, and melodic, metallic phrases.

To start, “Community Life” strews these elements across the assembly line to meet their maker. The album continues with “Shopping,” countering ominous, mechanical sounds with light, playful tones, perhaps representative of the clash of production versus exchange values. On “Hotcake” we hear mens voices, chains, and hissing steam in a methodical but urgent progression that could soundtrack Fritz Langs silent film, Metropolis. A woman seductively intones “Nerve Roots Are Uncontrollable” on the track of the same name. “Organized Labor” also incorporates a voice, speaking the acronym I.W.W. - International Workers of the World, also known as the Wobblies - as the music falls in line and wobbles along.

The cover of MWFI features a black and white photo of a figure in silhouette, backlit at a window, softened with curtains and plants. Maybe this is the room where the music was made: a private space, a refuge from some industrial work or at least the dubious fruits of this labor. In a way, listening to the music is entering a space without work, an apple to pluck and eat without wage or taxation.

One can imagine photographer Chauncey Hare listening to Music Works for Industryas he moved from documenting domestic interiors to the bleek efficiency of American offices. His black and white portraits of workers, isolated and obscured by cubicles and files, and published in This Was Corporate America, led to Hares disillusionment with the art market. Not wanting to sell images, he left photography, and become a therapist: publishing the self-help book, Work Abuse.

Perhaps peering into the music industry led to Barrecas eventual career, and a similar impulse to more directly touch those at the effects of economic systems. While exploring the cassette version of Music Works For Industry, we found a business card tucked inside: Marc Barreca—bankruptcy judge in Seattle. Material traces of the cassette are evident in the records packaging, the album format a newly manufactured form for Barrecas work.

Even in post-industrial times, Barrecas music offers listeners easily consumable musings on current work conditions. Freedom To Spend accepts your hard-earned and fortuitously won money in exchange for these morsels, but also believes that you need not invest unless pressed." - Freedom To Spend.
Music Works For Industry by Marc Barreca

"Limited edition of 200. Marc Barreca is an American synthesist and multi-instrumentalist and one of the pioneers of American cassette culture. Inspired by Brian Eno and the ambient school, he began recording his own music in the mid-70s. By 1980 he already recorded three tapes: In a Foreign Land (1977), Raw Fish and Green Tea (1979/80), and Currents (1979/80) -- all three only released and distributed via Eurock in an extremely low quantity. In 1980 he released his first LP, Twilight, on K. Leimers Palace of Lights label; a tape called Music Works for Industry would follow three years later on Palace of Lights, and another, The Sleeper Wakes, three years later on Jeff Greinkes Intrepid label. Besides performing together with James Husted and Roland Barker as the Seattle-based electronic music group Young Scientist in the late 1970s and early 1980s, he was also a member of K. Leimers studio group Savant. Barreca uses digital and analog synthesizers, digital samplers, environmental field recordings, and computer-processed audio loops to create multi-layered audio compositions. He employs similar techniques to those used in his audio recordings to create multilayered abstract visual compositions from digital photos and video source material. This LP includes tracks from Raw Fish and Green Tea (1979/80), Currents (1979/80), Music Works for Industry (1983), and In a Foreign Land (1977).” - Vinyl-On-Demand.

"Marc Barrecas twilight ( originally the second LP release from Palace of Lights) struck out in a distinct direction, taking steps into the ambient and industrial while carrying along a phonographic sensibility. Using sounds derived from a variety of acoustic as well as electronic sources, twilight foreshadowed the diversity and pliability of sampled, industrial and lowercase musics, making this 1980 release remarkably prescient and resiliently fresh to this day. One of the enduring and highly-sought after albums from the original Northwest School of independent electronic music is made available again." - Palace Of Lights (on the CD reissue).

Original sealed, 1981 pressing of the second LP release on Palace Of Lights (K. LEIMER (see recent archival release on RVNG), SAVANT, ROY FINCH, STEVE PETERS, etc..). BARRECA also played in SAVANT with LEIMER as well as the YOUNG SCIENTISTS with ROLAND BARKER (THE BLACKOUTS) and JAMES HUSTED of SEQUENCER PEOPLE (See last years 10" on Domestic).

2016 repress. "Marc Barreca has been creating and performing electronic music since the mid 1970s. Following recent vinyl reissues of Barrecas 1983 cassette Music Works for Industry via the RVNG spin-off Freedom To Spend, and a compilation of early cassette tracks on Vinyl On Demands acclaimed American Cassette Culture, Palace of Lights has reissued the artists first album for the label. 1980s Twilight was one of the earliest releases on Palace of Light, and is part of an ongoing program of documenting the roots of the Pacific Northwest independent impulse. This remastered and expanded edition includes one previously unreleased track on the LP and an additional six bonus tracks via the enclosed download card. Twilight struck out in a distinct direction, taking steps into the ambient and industrial while carrying along a phonographic sensibility. Using sounds derived from a variety of acoustic as well as electronic sources, Twilight foreshadowed the diversity and pliability of sampled, industrial and lowercase musics, ensuring the album was remarkably prescient and remains resiliently fresh to this day. Textura (reviewing Tremble) said Barrecas lava-like soundworlds are heady constructions whose sounds spill forth in thick clusters and collectively present themselves as heaving conglomerations of shape-shifting sound... a word like organic is less applicable than geologic, given the immense tectonic force with which its material convulses." - Palace of Lights.

"Thomas Barrières Primaire is nourished by various ethnical inspirations: Baluchistan, the Mediterranean, and Namibia, bent into a contemporary shape of experimentation and progressive rock. For this project, Thomas uses a double-neck guitar (six and twelve strings) with two outputs independently connected each to a tube amp. Each channel has its own volume and distortion and a switch on a guitar allows several combinations and musical effects; stereo, resonance, and ping-pong-effect. Barrière uses several objects: bows, EBows, radio-cassette Walkman, coin, chopstick, chime, prepared shoes, Moroccan oboe. There arent any loops or overdubs." - Cassauna.

"Timeless Horizons is a compilation of songs originally released on three private press LPs: Auf Der Suche (1984), Zeitlos (1986) and New Horizons (1988). Original copies are almost impossible to find these days and change hands for serious sums, so welcome the Timeless Horizons. Dont you agree that music is best when its not easy to describe it? Just like the music of Wolfgang Barthel, Matthias Böhm and Reinhold Bauer. Their amalgamation of oriental folk, percussive rock and a good bit of blues will let you drift away, dream, and dance into the storm." - Growing Bin.

"Frkwys Vol. 6 features four pieces composed and performed by artists Julianna Barwick and Ikue Mori as part of a month long installation curated by RVNG Intl. at White Columns gallery, New York City, NY. For the installation, a particle board cubicle was custom constructed and placed at the center of the Project Space. The cubicle wall separated Julianna and Ikue to their respective seated work stations, while stationary web cams captured the musicians at work/play and became interactive projections auto-manipulated by video artist Erik Mika, illuminating this exercise in simulated engagement. Each of Julianna and Ikues improvised performances on October 29th, 2010, were cut live to vinyl via portable lathe. Julianna and Ikue met a second time three weeks later at White Columns, November 16th 2010. This time the two musicians collaborated without an audience, cubicle, web cams, or lathe, but with past experience and spirit in place, an exercise in actual engagement. The four pieces of FRKWYS Vol. 6 include two performances from the first collaboration, and two performances from the latter collaboration. The LP is available in limited edition, packaged in thick black jackets with a two color adhesive wrap. All LPs come with a 24 page black & white zine featuring photography by Mayer and Rogac." - Rvng.

"Adam Basanta is a Montréal-based sound artist and experimental music composer. His sound installations investigate intersections between sound reproduction, consumer technologies, and the activity of listening. To create A Room Listening to Itself, the artist produced sound exclusively through amplification techniques that make audible the physical relationships between microphones and reclaimed speaker cones within a gallerys surrounding acoustic environment. In this work, eight iconic SM58 microphones and eight reclaimed speaker cones are dispersed throughout the gallery space, arranged in a manner that produces complex computer-controlled feedback and recursive amplification networks. Using these acoustic phenomena, the gallery space is turned into a giant resonator that amplifies acoustic space as a product of spatial relationships. Custom-built software algorithms constantly recalibrate the room to ever-changing acoustic situations, aiming for a sonic equilibrium that remains out of reach. The result is an ever-changing spatial composition encompassing ambient passages, resonant chords, and rhythmic activities -- created solely using feedback -- through which gallery visitors can navigate. Finally, a mention should be made that the album was recorded live at the Center for Contemporary Arts, Santa Fe, NM, in August 2015." - Cassauna.

"The Baseball Astrologer is Douglas Berman -- painter, astrologer, raconteur, chai-maker and dedicated walker. His ominous take is accompanied by the guitar and sounds of Steven Wray Lobdell (Davis Redford Triad, Faust) for an otherworldly post-game wrap-up where everything needs more orange, Neptune is in Capricorn, the casino of life is operating and where, even after death, we will have things to do. Darkness has no stare." - Holy Mountain. Early release on the label..

"A reissue of Robbie Bashos Basho Sings, originally released in 1967. Its become an oft-quoted statement that John Coltrane was the Father, Pharaoh Sanders was the Son, and Albert Ayler, the Holy Ghost. It could arguably apply to the holy trinity of steel string guitarists as well. Many claim John Fahey to be the Father, Kottke was considered the Son, and Robbie Basho would certainly be considered the Holy Ghost. The Basho/Ayler similarities are many, and both pushed their idioms further physically and emotionally than all of their respective contemporaries. Basho Sings was Bashos fifth release for the Takoma label and as the title proclaims, Basho Sings showcases a unique voice that transcends the limitations of the vocal form. Hes left the pentatonic raga scales of his previous releases and showcases a unique and unparalleled take on the folk/blues song idiom. A truly outsider take on the American primitive genre, Basho Sings is finally reissued for the first time on vinyl 50 years after its initial release. Beautifully remastered; Edition of 500." - Tacoma.

"First reissue of Robbie Bashos The Falconers Arm, Vol. 1, originally released by John Faheys Takoma label in 1967. The Falconers Arm pair of LPs (this record and the simultaneously reissued Vol. 2 (C 1018LP)) is widely considered Bashos best work; monumental pieces of folk guitar invention from the pioneer, fusing the drones of Indian raga with flamenco and traditional folk. Fully remastered with excellent sound. Limited edition pressing of 500 copies."

"First reissue of Robbie Bashos The Falconers Arm, Vol. 2, originally released by John Faheys Takoma label in 1967. The Falconers Arm pair of LPs (this record and the simultaneously reissued Vol. 1 (C 1017LP)) is widely considered Bashos best work; monumental pieces of folk guitar invention from the pioneer, with guitar lines in unusual tunings influenced by both blues and Indian music. Fully remastered with excellent sound. Limited edition pressing of 500 copies."

"A reissue of Robbie Bashos The Grail & The Lotus, originally released in 1966. Its become an oft-quoted statement that John Coltrane was the Father, Pharaoh Sanders was the Son, and Albert Ayler, the Holy Ghost. It could arguably apply to the holy trinity of steel string guitarists as well. Many claim John Fahey to be the Father, Kottke was considered the Son, and Robbie Basho would certainly be considered the Holy Ghost. The Basho/Ayler similarities are many, and both pushed their idioms further physically and emotionally than all of their respective contemporaries. The Grail & The Lotus was Bashos second release for the Takoma label, preceding the wildly prolific year of 1967 that produced three absolute classics with the Falconers Arm sets and Basho Sings (C 1012LP). Supposedly the thematics of The Grail & The Lotus came to Basho while recovering from a feverish bout of pneumonia, and in that state Basho envisioned and expressed a simultaneous glimpse of the Feudal Age, European and Japanese evocations side-by-side, both co-mingling with Knighthoods in Flower. A truly outsider take on the American primitive genre, The Grail & The Lotus is finally reissued for the first time on vinyl, 50 years after its initial release. Beautifully remastered; Edition of 500." - Tacoma.

"Originally released on John Faheys Takoma Records in 1965, The Seal Of The Blue Lotus is the debut album from American guitar soli legend Robbie Basho. In college Basho immersed himself in the study of Asian art and culture, even changing his last name to that of the Japanese poet Matsuo Basho, and his music shows a much greater Eastern influence than contemporaries like John Fahey and Peter Lang. Basho was particularly entranced by the raga form which is apparent in classics like Dravidian Sunday from this album. A guitar solo masterwork." - 4 Men With Beards. On 180 gram vinyl.

“Formal reissue of Twilight Peaks, guitarist Robbie Bashos last recordings. It was originally issued in 1984 on a tape label called The Art of Relaxation, and never got any reviews or attention at the time. For this proper release it was mastered by Glenn Jones (of Cul de Sac fame) and Matt Azevedo, from the original demo tapes, provided to Glenn Jones by Basho himself as he was working on the album. The CD has two extra live tracks, also culled from the original demo tapes. Amazing liner notes by Glenn Jones and Rich Osborn.” - Smeraldina Rima.

“Formal reissue of Twilight Peaks, guitarist Robbie Bashos last recordings. It was originally issued in 1984 on a tape label called The Art of Relaxation, and never got any reviews or attention at the time. For this proper release it was mastered by Glenn Jones (of Cul de Sac fame) and Matt Azevedo, from the original demo tapes, provided to Glenn Jones by Basho. Amazing liner notes by Glenn Jones and Rich Osborn.” - Smeraldina Rima.

"Channeling bad vibes, worse hangovers and a general life-keeps-shitting-on-us attitude, Chicagos Basic Cable find a way to have fun as they commiserate with each other, and their listeners. Fairly new to the scene, their blown out guitars, shouted, monotone vocals and punishing rhythms make for a noisy, punk-as-fuck attack that tingles our dingles in ways we can barely comprehend." - Empty Bottle.

"Opal Tapes figurehead Stephen Bishop has pushed a lot of boundaries with his label and his own music under the Basic House moniker since bursting onto the scene a few years back. The label in particular carved out a deep niche early on and its momentum seemingly cant be stopped. Caim in Bird Form originally appeared as a very limited cassette on Digitalis earlier in 2013 and now finds its proper home on wax. Basic House is never static, always burrowing toward the center of the earth but missing by a few degrees. Caim in Bird Form is gritty, while stilted beats crawl on I Found You, leaving tonal wreckage in its wake. Bishop ups the ante with the bleak futurism of 64 Bummer -- synths float skyward blacking out the sun underneath a veil of heavy bass making for one of the albums best moments, along with the caustic sonics of the title-track. And then, just when the darkness gets out of hand, the circus comes to town in the form of Ultra-Misted to massage your ears. Features gorgeous artwork by Savwo, cut to vinyl at Dubplates & Mastering, Berlin." - Digitalis

"Basic House is the solo electronics project of Stephen Bishop, a mainstay of the DIY scene in the UKs North East and the brain behind the label Opal Tapes. Bishop works with equipment both rudimentary and highly technical which become aligned together without bias to create a singular sound that focuses on decay, stagnation and apathy towards clichés within the current climate of electronic music. Oats is his new full-length record with six deep compositions woven together to create seamless transitions between them. "AR II" opens the record with fragile and haunted electronics before developing into something almost melodic with an imposing 4/4 kick. "Child Confession" follows with dead electronic hums, whispered samples and a sluggish half-speed techno thud which gives way to a collage of cruddy noise and scalpel-sharp bursts of clatter and a crude non-rhythmic bass pulse before ending in the buzzing maelstrom of "Interiors," which is equal parts Florian Hecker and Andy Stott at his most visceral. "Est Oan" begins the second half of the record ominously with slightly absurd farmyard groans that eventually melt into hypnotic machine music. The industrial lurch of "B.G. Feathers" is the closest Bishop comes on this side to hitting anything resembling a groove and instead evokes the grinding power of Maurizio Bianchis best 80s material. Mastered by Stephen Bishop with vinyl cut by Grammy Greg at Masterpiece. Photography by Traianos Pakioufakis." - Alter.

"Divertissement is the third collaborative full-length from minimalist composer William Basinski and sound artist Richard Chartier. The duo utilizes electronics, piano, tape loops, and short-wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried, and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts. William Basinski is a classically trained musician and composer who employs obsolete technology and analog tape loops to create haunting, melancholy soundscapes that explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic four-disc masterwork The Disintegration Loops was chosen by Pitchfork Media as one of the top 50 albums of 2004; upon its reissue in 2012, Pitchfork awarded it a score of 10 and the title of best reissue of the year. Installations and films made in collaboration with artist and filmmaker James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold-out crowds around the world. Basinski was chosen by Antony Hegarty to create music for Robert Wilsons 2011 opera The Life and Death of Marina Abramovic. Maxim Mostons orchestral transcriptions of The Disintegration Loops have been performed at the Metropolitan Museum of Art, Queen Elizabeth Hall, and the Swiss festival La Bâtie. Richard Chartier (b. 1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art that has been termed both "microsound" and neo-modernist. Chartiers minimalist digital work explores the interrelationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself. Chartiers work has been presented internationally, including at the 2002 Whitney Biennial, and he has performed his work live across Europe, Japan, Australia, and North America at digital art and electronic music festivals and exhibits. In 2000 he formed the record label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists and composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American Historys collection of 19th-century acoustic apparatus for scientific demonstration." - Important.

"On their own Three Poplars label Mirror offer one of their favourite compositions by William Basinski. A Red Score In Tile is a tape composition from 1979 and was inspired by James Elaines painting of the same title. Limited Edition of 600 copies. .. something was shining in a long narrow passageway between the theatre and an adjacent building. This was where he had gone. Illumination was there and sounds. From around the corners edge a grotesque light was trickling out, the first intimations of an ominous sunrise over a dark horizon. I dimly recognized this colored light, though not from my waking memory..." - Three Poplars.

Re-issue after 10 years (first issue on CD), originally released in limited edition LP in 1997 on Noton (now Raster-Noton). Full length CD with bonus track not on original LP. "The works on Shortwavemusic resulted from a series of experiments in 1982 using lo-fi technology to extract sounds from the airwaves and weave them into musical tapestries. Using two reel-to-reel decks from the 60s, a radio and a shortwave radio, Basinski recorded samples of music from the radio, edited the tape into loops of varying lengths, and slowed them down. These themes were then layered together in real time to an accompaniment of randomly shifting shortwave radio static. The themes explored were often brief excerpts [3 or 4 notes] from muzak-type string versions of American popular standards. By manipulating these themes and mixing them with an existing symphony of electronic information, Basinski has created a series of glacial, atmospheric aural landscapes for the listener to inhabit. The music is timeless and compelling - a remarkably original experimental music album." -2062.

"9 LPs, 5 CDs, a DVD and a 144-page full-color coffee table book. "For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinskis The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming... and for good reason. From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. To mark the 10-year anniversary of its original release -- and its forthcoming induction into the 9/11 Memorial Museum this year -- Temporary Residence Ltd. is honored to collaborate with William Basinski in presenting The Disintegration Loops in a fashion truly befitting a library of music with such a lasting legacy. This massive limited-edition box set contains all four historic volumes, plus a pair of stunning live orchestral performances from the Metropolitan Museum of Art, and the 54th Venice Biennale, both previously unreleased. Remastered from the original recordings and pressed onto 100% virgin vinyl for the first and only time, this exquisite box set also includes all of the remastered recordings on 5 CDs, the extremely rare 63-minute The Disintegration Loops film on DVD, and a 144-page full-color coffee table book featuring rare photos taken during the making of The Disintegration Loops, and liner notes by Basinski, Antony, David Tibet of Current 93, Ronen Givony of the Wordless Music Series, and Michael Shulan, Creative Director of the National September 11 Memorial Museum." - Temporary Residence Ltd.

"Another excellent work from the archives of American composer William Basinski (who is also responsible for one of the most beautiful and moving series in the field of experimental music: the four Disintegration Loops I-IV CDs released on his own 2062 label). This 2CD is a joint release with David Tibets (Current 93) own Durtro label. It comes in a 4 panel digisleeve." William Basinski about this work: Variations: A Movement In Chrome Primitive was created in 1981 using piano tape loops, which were played randomly against themselves creating feedback loops. By cloning small cells of melody and then breeding them randomly, new sounds were formed. These new sounds move in and out of the original cells, creating complex crystalline structures: new life forms not unlike cities for example, which the original cells occupy, moving in and out of one another in surprising variations. The equipment I used to record these pieces was very primitive and my recording technique preposterously amatuerish at that time, yet what occurred in these youthful experiments compelled me to continue learning and growing as a composer." - Die Stadt.

"So many good things I want to say about Basket Case. Incredible band
with a confusing timeline. From what ive gathered, Basket Case
existed from 1999-2000, mainly in Detroit, and consisted of Geoff
Walker (Gravitar, Spider Tombs), John Olson (American Tapes, Wolf
Eyes, Pink Chunk Jazz, etc.) and Lisa Colwell (Commune Ills, Lake
Bottoms). Though they recorded constantly and amassed hours and hours
of tape, only 10 or Basket Case releases were made, nearly half of
which were released after the fact. All limited and impossible to find
now. This tape features all live compsitions, very acoustic, sparse,
and organic sounding. Recorded 1999 in Lansing and Detroit (at the
Detroit Contemporary). Amazing photograph art by Geoff Walker of DC
and surrounding Detroit areas. Hopefully more archival Basket Case to
come! Double sided color art, color tape labels." - Green. Limited to 50 copies.

"An historical oddity. All the way from 1985 this is the complete recorded output of a formative Neil Campbell (and friends) project. Weird incantations and inexpert thumping. Actually pretty good. "Strange" -Neil." - oTo.

"A word to the wise from Will Bankhead -- I think Ralphs really underrated, his two records on TTT are probably the best records Ive put out. Both thrashed by Ben UFO and JO, too." - The Trilogy Tapes.

"Marcia Bassett (Double Leopards, Zaïmph) and Samara Lubelski return with 110 Livingston. This is the second album from this weighty pairing of two of Americas most audacious psychedelic drone proponents, following the stunning Sunday Night, Sunday Afternoon, released in 2012 on Graham Lambkins label Kye. Bassetts guitar processing squashes otherwise raging howls into densely packed tones of feedback wail, and blends with Lubelskis long violin voyages into the drone zone to form a combination thats wondrous to behold. One side-long trip and three shorter but nevertheless expansive explorations of black magic meditation. 140-gram vinyl presented in a matte sleeve and limited to 250 copies." - Golden Lab.

"Great reissue on Alt.vinyl of the "Lapidary" cassette. Marcia Bassett, Guitar, and Helena Espvall, Cello, create staggering echoes and atmospheric drones nodding towards contemporary classical ghosts. The
two side-long pieces sweep in and out of effects through dark & brooding places that lead into an avant psychedelic head trip. The newly edited pieces have been remastered by Patrick Klem and pressed
on HEAVY vinyl. Beautifully packaged LP with new photo artwork by Derek Moench. Comes in the heaviest card stock ever!"

"Sunday Night, Sunday Afternoon is the debut LP by the duo of Marcia Bassett and Samara Lubelski. Both musicians have played crucial roles in the development of underground sound over the last 20 years, tinting the broad waters of abstract folk, chromatic noise and long form drone, and cementing themselves as cornerstone artists in the process. Sunday Night, Sunday Afternoon is the perfect synthesis of Bassett and Lubelskis individual crafts - two sidelong forays into deep black string meditation that hang in the air like ghosts on Ludlow Street. Sunday Night, Sunday Afternoon was recorded/mixed by Barry Weisblat in 2010 in Brooklyn, NY, and arrives in a high gloss monochrome sleeve, in an edition of 500 copies." -Kye.

"Hand-numbered edition of 200 copies LP on Manuel Motas private Headlights imprint documenting a heavyweight duo set from Marcia Bassett of Zaimph, Hototogisu, Double Leopards, GHQ et al and improvising Portuguese bassist and guitarist Margardia Garcia. Garcia is one of the major new generation European free players, coming out of the same scene as Mota, and shes just as capable of generating Swans-style Industrial entropy as she is playing explosive fire music. Here Bassett uses keyboard and guitar to create austere arcs of Industrial-strength drone that Garcia anchors with tactile, questing strings, giving the whole thing an odd avant-classical backbone." - Headlights

"This is the third LP to feature the exquisite improvising duo, Marcia Bassett and Samara Lubelski. And as great as the first two were (on Kye and Golden Lab (ROWF 047LP, 2015), respectively), Live NYC is even better. It elegantly shows just how much brain damage you can do using only a guitar and a violin. The pair have deep deep roots in the East Coast sub-underground. Marcias solo projects and work with groups (Un, Double Leopards, Hototogisu, GHQ, Zaika, etc.) has been exploding minds since the mid 90s. The same is true for Samara, except her history reaches even further back, with non-solo-aktion including bands like Tower Recordings, Hall of Fame, Chelsea Light Moving, Metabolismus, and too many more to name. But neither of them has really destroyed on the pure level they manage to sustain with this duo. The two sets were recorded on different nights, at different venues, and their sound is as variated as could be. The first side, recorded by Bob Bellerue at Knockabout Center, is a tale of twinned and lightly fuzzed tones, twirling and blending in the air like a lost track from Heldons Its Always Rock & Roll (1975) (or maybe a Fripp & Eno radio broadcast from 1974). The threads of sound absolutely phosphoresce. Its an incredible mix of motion, stillness and power all wrapped up in a psychedelic diaper. The other side, recorded by Kevin Reilly at Trans Pecos sounds more like some crazy BBC Radio Workshop soundtrack to a Peter Cushing science fiction tragedy. The feel is pure outer space, with all the vast emptiness and glittering promise that implies. Im having a hell of a hard time figuring out which approach I like better. But theyre both incredible sonic shards. And the silkscreened cover art is pretty amazing in its own right. Hard to think of what more you could ask for. Except maybe a sandwich." -Byron Coley, 2017. Silkscreen printed covers by Neil Burke; Edition of 400.

"The Kids (Belgium) released this single in Italy under the name The Bastards. Two classic tracks with different names/mixes from the LP (which has been bootlegged enough times for this to be accepted as one of the best non-UK/US/Ireland bands of the first rock-n-roll-tinged punk wave). This is rock and roll!"- Sing Sing.

"French composer and multi-instrumentalist Pierre Bastien delivers another entry in Morphines increasingly diverse catalog. Active since the mid-70s, Bastien is best known for building automated orchestras. His previous album, Machinations, was released on Aphex Twins Rephlex label in 2012 (REPH 215CD). For this work, Bastien recycled components of his Silent Motors live set and assembled mechanical organisms -- using amplified Meccano parts, motors, fans, rattles, paper, and nails -- to generate rhythmic scaffolding. Live instrumentals, created with prepared trumpets, African kundi harp, Javanese rabab, sanza, electric harpsichord, bass, drums, and gongs, were then superimposed on top. But for all their haptic mechanics, the assembled works on Blue As An Orange -- spanning jungled ambience to yellow jazz grooves -- are surprisingly delicate and nuanced, and generously laced with human warmth. As an installation artist, Bastien also captures shifting patterns of light and spatial texture in sound. This LP takes its name from Paul Éluards poem "La terre est bleue," and offers a fresh symbiosis of speculative anthropology and old-world jazz. Produced by Rabih Beaini; mastered by Neel; designed by Tankboys; original cover art by Nathalie du Pasquier." - Morphine.

"This is the music of Now...potent magic of unspecific era and dimension...the Love child of Eastern-tinged folk Raga roots meeting the lysergic depth of psychedelic free jazz only to arrive at its own unique voice...as iconoclastic as it is immersed in tradition, spontaneous as it is rehearsed, ephemeral as it is eternal. And that voice belongs to Janina Angel Bath, who is that rare breed of magician -- a sonic high priestess who resonates with her place in the spotlight as if it were her own personal ziggurat. Time bends under the trance of her musical spell; from the swell of nomadic chants to flights of fantasy lore to ancient cries of goddess invocation -- she effortlessly radiates...with unequivocal grace, passion and mysticism; illuminating scenic tours not only thru the effervescent haze of the subconscious mind, but also spiraling aural trips upon whirling astral spheres." -Joe Niem

"Its true of Bathing Druid, as its probably true of all major proverbs, 80-syllable titles of old-fashioned royalty and a good deal of e.e. cummings later poetry: it all started with a Madlibs-derivative word game. Despite the unbelievable weight of its results, the game is surprisingly basic. It requires three players, each of whom independently chooses one word to fill in a sentence, the structure of which is always the same from round to round (What is a (noun) but an (adjective) (noun)?). When the sentence is filled in with sufficiently vague, timeless words, the game can conjure some profound questions. In fact, if you read all of the obscure, sometimes omitted footnotes to the texts of the ancient philosophers, you will find one consistent source from which knowledge has been universally drawn since the dawn of time: The Sentence Game. (Modern technology has brought about the height of the games productivity, through a widespread experiment, being conducted in zoos everywhere: for years, chimpanzees have been arbitrarily pontificating, through machines designed to offer random words at the press of a button.) As previously mentioned, it was through this game that Bathing Druid got its name (the result of the fated round was, What is the midwest but a bathing druid?). Philosophical doors swung wide open when first this question was asked, and Bathing Druid like Brigadoon descended on the Earth -- an apparition, both quick to enchant and to disappear. Luckily, those who stumbled upon the band in its brief window of being need not wait 100 years for its next appearance. This 7" record is the only known artyfact of Bathing Druid. All songs were created within one week, and recorded in one day. May the Beltane Loofah wash you clean and make you new." -Weird Forest

"Brain Pulse Music is the result of years of research into the bioelectric functions of the human brain combined with the traumatic aftermath of Japans Great East Earthquake. All seven Brain Pulse Music tracks are a prayer/requiem. They are a tamashizume (a requiescat) and tamafuri (reinvigoration of the withered soul) to the victims of the Great East Japan Earthquake. Two pieces are composed of BPM machine recordings; the remaining five are rhythms and melodies commonly heard in religious rituals and provincial festivals using traditional Japanese instruments. This seems to have been a natural reaction for Batoh, considering these rituals were quite often carried out to appease gods thought to cause epidemics and disasters--for instance, the famous Gion and Aoi festivals held in Kyoto both originated as a purification ritual addressing the gods that bring about calamity upon the people. The BPM recordings are the furthest incursion Batoh has made into the deep space and mystery of the human condition. The acoustic recordings are the purest expressions of his traditional folk influence that he has released in over twenty years of music-making, a deep and soulful expression intended to calm and aid in the healing of all around him. And so from the rubble of Japans damaged bodies and minds, the power of Brain Pulse Music has emerged." -Drag City

"Brain Pulse Music is the result of years of research into the bioelectric functions of the human brain combined with the traumatic aftermath of Japans Great East Earthquake. All seven Brain Pulse Music tracks are a prayer/requiem. They are a tamashizume (a requiescat) and tamafuri (reinvigoration of the withered soul) to the victims of the Great East Japan Earthquake. Two pieces are composed of BPM machine recordings; the remaining five are rhythms and melodies commonly heard in religious rituals and provincial festivals using traditional Japanese instruments. This seems to have been a natural reaction for Batoh, considering these rituals were quite often carried out to appease gods thought to cause epidemics and disasters--for instance, the famous Gion and Aoi festivals held in Kyoto both originated as a purification ritual addressing the gods that bring about calamity upon the people. The BPM recordings are the furthest incursion Batoh has made into the deep space and mystery of the human condition. The acoustic recordings are the purest expressions of his traditional folk influence that he has released in over twenty years of music-making, a deep and soulful expression intended to calm and aid in the healing of all around him. And so from the rubble of Japans damaged bodies and minds, the power of Brain Pulse Music has emerged." -Drag City

"The works that Collected Works collects are A Ghost From The Darkened Sea and Kikaokubeshi, two albums recorded and released in 1995 and 1996, during the final period of conceptualization for Ghosts Lama Rabi Rabi album. These two solo records allowed Batoh to explore musics and textures in an entirely free space from the already quite free (and rapidly morphing) Ghost. This is a solo record in a very complete sense: acoustic guitar, marimba, harmonium, voodoo drum, bells, hurdy gurdy, organ, drums, horns, duff, Moog synthesizer and the mysterious giri giri pee are all played by Batoh. In addition, field recordings done by Batoh are in the mix -- birds, seashore, winds on a bluff, industrial noise, metro, mountains, etc. The two works are fundamentally different: A Ghost From The Darkened Sea being an earthy collection of folk-songs; Kikaokubeshi composed almost entirely of a dreamy ambience." - Drag City

"Helena Espvall and Masaki Batoh are known to open-eared music listeners for their collaborations with other artists -- artists with names such as Ghost, Espers, Damon & Naomi, Fursaxa, Tom Rapp, Lukas Ligeti, Bert Jansch, among many others. By collaborating with each other, theyve made one of the most beautiful recordings either one of them has yet participated in. They first met at a festival in the United States in 2006. Batoh presented Helena with a handmade bamboo instrument; short on spare celli, she gave him a copy of her solo CD. Afterwards, they stayed in touch. At some point Helena suggested an improvised musical collaboration. Batoh wrote back and said: Actually Im too busy now to think about music... if my idols Moondog, Henry Cowell or Toru Takemitsu wanted me, Ill refuse their orders. Several weeks later, he had a change of heart. He contacted Helena and said that he felt they should record not improvisations only, but songs as well. Helena made a demo of some Scandinavian folk songs that she remembered in her spirit from growing up in northern Sweden, thinking that maybe theyd record one. The recording session was held in Tokyo over four days in December 2007. For instruments fans, this session might be a treasure. So many strings were used: 6- and 12-string guitar, banjo, cello, hurdy-gurdy, harp, contra bass, chappa Tibetan bells, Kin (Buddist metallic bowl), timpani, bass marimba, vibraphone, thunder sheet & on & on. Six of the Swedish traditional tunes were reconstructed, along with Batohs arrangement of Death Letter, a classic Son House delta blues song. Additionally, a European medieval tune was addressed in its own arrangement and expression. Zeranium, a dreamy folk tune that Batoh wrote for Damon & Naomi (they didnt use it), was re-arranged for this session as well. The improvisations were done on the last recording day, with no overdubs. Completely Free was the essential concept. For one of them, they were joined by Batohs fellow Ghosts Takuyuki Moriya (contra bass), Kazuo Ogino (piano,Celtic harp) and the santur player Mayumi Nagayoshi. The same morning, Helena had received notice that her grandmother suddenly had died, and that a dear friend had chosen to end his life. Two death letters in one day? There is great emotion reflected in the improvisations. And great depth and beauty throughout the whole Helena Espvall & Masaki Batoh album." - Drag City

"When erstwhile Dead Boys Stiv Bators and Jimmy Zero decided to give it another shot with a summer 1980 US tour, they assembled a pretty crack backing band-- George Cabaniss (Hammer Damage) on guitar, Frank Secich (Blue Ash) on bass and David Quinton (Mods, Arson) on drums-- and proceeded to take it on the road. Over thirty years later, Quinton has remastered the original excellent-quality board tapes from three of the shows to come up with incendiary takes on all-time American punk rock monsters Son Of Sam, Third Generation Nation and All This And More. 100% authorized release with four-page insert featuring extensive liners and unseen pictures." -Ugly Pop.

"This is an early Flying Nun release (1984) of The Bats first release. Forming new years eve 1982 by Bob Scott (The Clean), Paul Keane (Toy Love), Kaye Woodward and Malcolm Grant The Bats became of Flying Nuns strong holds with a catalog and influence spanning over thirty years. By Night establishes The Bats driven jangle sound that would find a mainstream audience some 10 years later and continue to influence bands today. As all early Flying Nun releases, ‘By Night original pressing was limited and as a result copies today are scares with a $50 price tag to reflect it. Re-issued for Record Store day as an exact facsimile of the original." - Captured Tracks.

"That the Bats came from that era and didn?t suck is an amazing fact du jour. And, for the record, these Bats came and went long before the like-named New Zealand group even formed (and then fluttered into their own cave of obscurity). The Bats from New Haven, CT comprised three songwriters and this near perfect single that melded New Wave, Ventures noodling, well-meaning but misplaced prog and, best of all, catchy, beautiful pop.
Whats on the vinyl is well-crafted, if youthful power pop. This group is only a trio, and from their looks quite young but manages to project a full, powerful sound. Though on a small label the sound is crisp and professional. To those who wake up every morning to well worn copies of the Raspberries "Go All the Way," this ones for you. ? Billboard October 2, 1982." -Sing Sing.

"Pressed in an edition of 500 copies on 180 gram virgin black vinyl, features artwork by photographer Max Doyle.
Greatly influential New Zealanders The Bats bring us two new tracks; one an excerpt from their album The Guilty Office and the other an unreleased outtake from the same sessions; two tracks of their signature understated guitar pop. Sydney based Songs bring us an acoustic version of Keeping it Clean and an pre-album recording of My Number.”

“Truly a keepsake union of two great bands of our time. Put this record on, make yourself a G & T and find a balcony with a good view.” – Four Thousand.

"Bad Boy Butch Batson is based out of North Carolina where after a brief stint in the world of amateur wrestling he took up the blue-collar lifestyle and produced Spare Parts, a labor of love that took 10 years and dozens of studio musicians to realize. The result is a reckless cavort through the annals of popular song, ranging from wrestling rock anthems delivered in almost heroic Beefheartian gaudiness to mid 80s slasher vibes with narration provided in a congested indignity by a self-hating eunuch to uneasy love songs from the acne-scarred panty-collector, all interspliced with a series of gawky real-life tape collages. This is real outsider shit and no comparison to Jandek or the Shaggs will fully elucidate monumental what-the-fuckdedness of this here slab of vinyl." - Bennifer Editions.

"Matsuli Music continues its reissue program of rare indigenous Afro-jazz sounds from South Africa with the release of Sowetan group Batsumis self-titled debut from 1974. The reissue has been lovingly re-mastered from the original tapes. Batsumi is a masterpiece of spiritualized Afro-jazz, and a prodigious singularity in the South African jazz canon. There is nothing else on record from the period that has the deep, resonant urgency of the Batsumi sound, a reverb-drenched, formidably focused pulse, underpinned by the tight-locked interplay of traditional and trap drums, and pushed on by the throb of Zulu Bidis mesmeric bass figures. The warm notes of Johnny Mothopengs guitar complete a soundscape that is at once closely packed with sonic texture and simultaneously vibrating with open space, and in whose shimmer and haze Themba Koyana and Tom Masemola soar. A sonorous echo emanating from an ancient well, reverberant with jazz ghosts and warmed by the heat of soul and pop, Batsumi is nothing short of revelatory. Hand-numbered limited edition of 500 copies; includes insert." -Matsuli

"Franco Battiato moved into the 1970s on the crest of the progressive rock wave. This 1972 impossibly strange record inhabits that nether world of pop music, electronics, politics and experimental rock. Fetus is an album beyond all definition. Its a masterpiece of daring and wild risks that work every single time. Battiato takes us through eight uniquely super-detailed songs that tug at the heart strings as no other experimental record ever could. New liner notes by Jim ORourke." - Water.

"An internationally known artist, Franco Battiato has been everything in his long career, from beat singer to avantgarde performer, producer, and contemporary music composer. His beginnings lay in the mid 60s, with many singles released with no particular success, the first two under his real name of Francesco. He had left his native Sicily (he was born in Jonia, near Catania in 1945) moving to Milan around 1965. In 1970 after his collaboration with Osage Tribe (that he quit before their only album Arrowhead) he had a record deal with Bla Bla, releasing his first solo album in 1972. Foetus, housed in a outrageous cover (reproducing a foetus) was definitely a prog album, but a very original one, with a minimalist sound mainly based on the use of a VCS3 synth, unusual lyrics, complex arrangements. Two tracks, Energia and Una cellula were also released as single. Produced by Pino Massara in the 70s, Foetus remained unreleased until 1999, when Vinyl Magic finally released it on CD (VM CD 065). This little gem of Italian progressive music is now reissued in its most suitable format, as a black 180 gram vinyl enclosed in a beautiful argent laminated cover." - Vinyl Magic.

"Cassette-only release in a limited edition of 250 copies. Jean Baudrillards Le Xerox Et lInfini -- originally published in Paris, 1987 -- as read by Patricia and Ellen. Recorded on July 12, 2009 by Vicki Bennett in Hersham, England. Jean Baudrillard is perhaps the most important theorist of the "after modern." Though he says he has "nothing to do with postmodernism," many interpret him among the most important prophets of a truly postmodern era. His works have attracted praise and derision all over the world. Since 1991, British artist Vicki Bennett (People Like Us) has been an influential figure in the field of audiovisual collage, through her innovative sampling, appropriating and cutting up of found footage and archives. Using collage as her main form of expression, she creates works that communicate a humorous, dark and often surreal view on life. Patricia and Ellen were born in Reims, northeastern France, on July 29, 1929. They told interviewers that their grandparents were peasants and their parents were civil servants. They became the first of their family to attend university when they enrolled in the Sorbonne University in Paris. There they studied German, which led to them teaching the subject at a provincial lycée, where they remained from 1958 until their departure in 1966. While teaching, Patricia and Ellen began to publish reviews of literature, and translate the works of such authors as Peter Weiss, Bertolt Brecht and Wilhelm Mühlmann. Later on, with the development of the magnetic tape recorder, Patricia and Ellen used these new means in order to manipulate their performances and expand the possibilities of language sound transformations. Patricia and Ellen continue to actively perform their work, the contextual quality of which is enhanced by their idiosyncratic delivery." -The Tapeworm

LP version. Includes CD. "In October 2014 an idea suddenly came to mind. Although I had spent much of my life performing, recording and producing music, my attention over the immediately preceding years had been focused on the philosophy and psychology of human nature. It was a rewarding exploration, but I missed being more creative -- suddenly I felt the urge to play music again. I built a recording studio in my basement and began writing material for the first time in a long while. In November I called Edgar Froese and we met in early January 2015 in Austria. It was an extraordinary encounter and it seemed like it would lead to a renewed collaboration after several decades. As many of you now know Edgar passed away on January 20th 2015, I miss him dearly. Machines of Desire is filled with many influences, not least of them, my time with Tangerine Dream. Recording this album has been a very rich experience that fulfilled my creative desires, with more to come. The title, Machines of Desire, reflects my belief that as human beings were driven relentlessly by our deepest desires: the desire to experience life and love, to be heard and seen, to connect with others, to be safe, to find meaning and purpose . . . and countless more. We find ourselves in the drama of everyday life with uncertainty at every step, with fear of loss and existential loneliness, and only occasionally interrupted by the fundamental joy of being alive." - Peter Baumann, February 2016.

"Bureau B present a reissue of Peter Baumanns solo debut album Romance 76, originally released in 1976. From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band Tangerine Dream. The group were pioneers of the so called Berliner Schule (Berlin School) which had a profound impact on electronic music. With Peter Baumann on board, Tangerine Dream grew into one of the most influential bands in electronic krautrock, sited somewhere between experimental electronica and progressive rock. Baumanns positive aura and eagerness to experiment galvanized the bands music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts. After five years of chart appearances, extensive touring and several albums, Baumann initiated his solo career with Romance 76. "Romance 76 resulted from the urge to create new music. I felt we had begun repeating ourselves in Tangerine Dream and I was keen to discover new things, to carry on experimenting. Improvisation had been common to us all, but on your own it isnt quite so simple." This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history. Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record Romance 76. The influence of Tangerine Dream can clearly be heard on Romance 76, although the arrangements are comparatively minimalist. Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system can be detected on Romance 76, for example, along with a mellotron. The minimal compositions airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: Leave it as it is, theres enough there already. " At which point Baumann decided to look at the tracks in question as finished. This reissue includes extensive liner notes and rare photographs." - Bureau B.

"Bureau B present a reissue of Peter Baumanns second solo album Trans Harmonic Nights, originally released in 1979. From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band Tangerine Dream. The group were pioneers of the so called Berliner Schule (Berlin School) which had a profound impact on electronic music. Trans Harmonic Nights sees Baumann continue to break free from the gravitational pull of Tangerine Dream. Hans-Joachim Roedelius was recording the Jardin Au Fou album (BB 023CD/LP) at the same time in his Paragon Studio and some of his carefree positivity seems to have rubbed off on Baumann, judging by the music he came up with. The production phase for Trans Harmonic Nights covered 16 months or thereabouts. Having built the studio and taken care of production on albums for Cluster, Asmus Tietchens, Conrad Schnitzler and Hans-Joachim Roedelius, many of which came out on the French label Egg, he had neither the time nor the inclination to focus on his own compositions. Numerous tracks on the album were actually created at the end of the working day, on downtime, just for fun in the unfinished studio. Peter Baumann explains: "It was a completely different time for music, everything we did was spontaneous, in the moment. My first two records happened when I was working in the studio, simply expressing myself as a musician, sensing which emotions, timbres, rhythms and melodies were closest to me." This approach shines through the music, underpinning its authenticity and making the album such a delight to listen to today: carefree, playful, unbelievably euphoric. Synth lines are exhilaratingly entwined with synthetic plucks, experimental sounds crystallize into sweet melodies, building into ecstatic breaks. Majestic mellotron choirs and added vocoder tones lend an ethereal, surreal touch. It is virtually impossible not to get caught up in this rapture, to be swayed by the infectiously upbeat nature of the music. Not long after releasing this album, Peter Baumann relocated to the USA where he recorded two more albums by the year 1983, dominated by wave and synth pop sounds. In 1984 he founded his own label, Private Music. In the late 1990s he withdrew from the music business altogether, only resurfacing in May 2016 with Machines Of Desire (BB 234CD/LP)." - Bureau B.

"Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria, Germany. It was mixed in Conny Planks studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School; layered sequencer patterns, swirling chord tapestries, a computer beat here and there. Eastern elements or hints thereof add a particular charm to Baumann/Koek, reissued here for the first time. Rumors persist that Peter Baumann of Tangerine Dream is behind the Baumann/Koek project. But in actual fact, Baumann/Koek can unequivocally be identified as Wolfgang Baumann (no, not the MPS Records cover artist), born in Kempten in 1950, and his friend Ata Koek (Köktürk, to be precise), born in Istanbul in 1956. In their mid-20s, the pair made the trip from Kempten to Bonn with the singular aim of visiting the legendary Synthesizerstudio Bonn, the very same store where Kraftwerk and countless other electronic icons went shopping for their equipment. They purchased a secondhand ARP 2600, began experimenting, and realized that they needed more gear. Before long they had added an ARP sequencer, a Solina String keyboard, and an EKO Compurhythm drum computer to their arsenal. Last but not least, they acquired a four-track recorder and were ready to commit their music to tape, before going to the expense of booking Conny Planks studio for the mix. They pressed up 1000 LPs and paid the production costs themselves. The album was well-received and the Swabian wholesaler Jaguar Records stepped in for worldwide distribution, but unfortunately went bankrupt shortly afterward. Baumann and Koek were disinclined to take on any further financial risk and decided against a follow-up record. The music clearly references the Berlin School, with a hypnotic maelstrom of sequencer patterns and swirling tapestries of mostly minor chords, underpinned at times by a computer beat. What really sets the music apart from comparable productions is the subtle influence of Arabian tonality, which saw Koek consciously introduce just a hint of Eastern flavor. If Baumann and Koek considered their "modest" equipment to be a hindrance, their music sounded all the better for it. There is a raw, unpolished quality to the tracks, a clarity that draws the listener closer, far more so than the bombastic productions of contemporaries like Tangerine Dream, Klaus Schulze, et al." - Bureau B.

"Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria, Germany. It was mixed in Conny Planks studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School; layered sequencer patterns, swirling chord tapestries, a computer beat here and there. Eastern elements or hints thereof add a particular charm to Baumann/Koek, reissued here for the first time. Rumors persist that Peter Baumann of Tangerine Dream is behind the Baumann/Koek project. But in actual fact, Baumann/Koek can unequivocally be identified as Wolfgang Baumann (no, not the MPS Records cover artist), born in Kempten in 1950, and his friend Ata Koek (Köktürk, to be precise), born in Istanbul in 1956. In their mid-20s, the pair made the trip from Kempten to Bonn with the singular aim of visiting the legendary Synthesizerstudio Bonn, the very same store where Kraftwerk and countless other electronic icons went shopping for their equipment. They purchased a secondhand ARP 2600, began experimenting, and realized that they needed more gear. Before long they had added an ARP sequencer, a Solina String keyboard, and an EKO Compurhythm drum computer to their arsenal. Last but not least, they acquired a four-track recorder and were ready to commit their music to tape, before going to the expense of booking Conny Planks studio for the mix. They pressed up 1000 LPs and paid the production costs themselves. The album was well-received and the Swabian wholesaler Jaguar Records stepped in for worldwide distribution, but unfortunately went bankrupt shortly afterward. Baumann and Koek were disinclined to take on any further financial risk and decided against a follow-up record. The music clearly references the Berlin School, with a hypnotic maelstrom of sequencer patterns and swirling tapestries of mostly minor chords, underpinned at times by a computer beat. What really sets the music apart from comparable productions is the subtle influence of Arabian tonality, which saw Koek consciously introduce just a hint of Eastern flavor. If Baumann and Koek considered their "modest" equipment to be a hindrance, their music sounded all the better for it. There is a raw, unpolished quality to the tracks, a clarity that draws the listener closer, far more so than the bombastic productions of contemporaries like Tangerine Dream, Klaus Schulze, et al." - Bureau B.

"Alicia Bay Laurel is well known as the writer and illustrator of one of the classic books of the back-to-the-earth movement, the 1970 hand-written guide to living the good life, Living On the Earth. She is also an accomplished singer, songwriter, and guitarist, the latter skill honed by studying with John Fahey. The songs on Music from Living On the Earth were composed concurrently with the writing of the book, permeated by the sun and soil of the commune life. Bright and earthy paeans to the natural world, featuring ABLs pure, strong, and uplifting voice atop her fluid, confident, and deft steel-string acoustic guitar fingerpicking, her style showing that she learned well from Fahey. She also collaborated with San Francisco Tape Music Center co-founder Ramon Sender Barayón, who contributes the 40-voice choral arrangement for the closing track. Although these songs were written as the 60s became the 70s, Music from Living On the Earth was actually recorded in 2000, first issued as a self-produced CD, and reissued on CD by EM Records in 2006 (EM 1047CD). This 2015 15th anniversary edition is its first appearance on vinyl, and includes liner notes by the artist as well as English and Japanese lyrics, allowing listeners to again hear ABLs blues, jazz, and Indian music influences meld with folk roots to glorious effect." - EM.

"Pressed on limited edition silver clear vinyl. Sub Rosa presents the complete version of Les Couleurs de la Nuit, as premiered in 1982, and one of François Bayles masterpieces. François Bayle studied with Stockhausen and Messiaen. He joined the ORTF Groupe de Musique Concrète in 1960. He later led the group when it became the Groupe de Recherches Musicales in 1966. Most of his compositions are electronic, and his first important work, "Espaces inhabitables" (1967) is suggestive of an imaginary world in which nature is distorted in a dream-like fashion. He later utilized natural and synthetic sounds in his compositions, such as the recorded sounds made in a Lebanese cave. He has stated that his purpose as a composer is to enable the listener to feel the motion and vibration of energy in the universe. François Bayle characterizes his art like this: "...my purpose was always the same: to compose with only images-de-sons (sound images); to show how, through pure listening in an acousmatic situation, these sound images move like butterflies through audible space and project a colored twinkling on the listener. Out of frame, this is a world proved by itself..." Les Couleurs de la Nuit was created for "tapes and computer."" - Sub Rosa.

Recorded between 1969 and 1972 (with one track featuring Robert Wyatt and Kevin Ayers...). "In addition to being a masterpiece of the acousmatic repertoire, LExpérience Acoustique is also a fine example of the musical research spirit. This work, a systematic exploration, investigates the true nature of the listening process itself. The composition of this piece, spread over several years, managed to tap into the potential of the analogue technologies of its time, producing a complex blend of unprecedented sonic occurrences. What emerges from this extensive work is a reflection on sound, in all its forms and through all its textures. François Bayle therefore invites us to a genuine listening experience and for the first time on vinyl, in its full version lasting more than two hours." - Christian Zanési and François Bonnet.

"From 1975 -1979, things were going well for James A. Smith, musically speaking. He was writing prolifically, getting encouragement from his contemporaries -- namely, his friend Robyn Hitchcock of The Soft Boys -- and his band, The Containers, had recorded some promising demos and were playing regular live gigs. But, by January of 1980, The Containers disbanded suddenly, and James was on his own. Sod it! he thought, and, rather than waste time lamenting the situation, he plotted a new course as a solo artist. Armed only with his guitar, a drum machine and his flatmates girlfriend, Jill Fricker, to sing backup vocals, James forged ahead with his new project: The Beach Bullies. The Beach Bullies somehow manage to sound simultaneously classic and exceptionally ahead of their time. Fans of kindred spirits from the same era, such as The Television Personalities, Young Marble Giants, and yes, The Soft Boys, will find much to admire in The Beach Bullies. On the other hand, their alternating vocals, stripped-down aesthetic and minimal arrangements will also appeal to fans of artists who would emerge much later, such as The Vaselines, The Pastels, Shop Assistants and Small Factory. In their brief time together, The Beach Bullies recorded one full-length LP, We Rule The Universe, on Musclebound Records in 1980, along with a series of demos, and some rough mixes intended for a follow-up release that never came to fruition. These comprehensive additional recordings are all available as digital downloads with purchase of this LP. Original copies of the LP sell for more than $40 on the second-hand market, and the bonus tracks have never been released previously. The LP insert also includes previously unreleased photos of James and Jill from the time of the recordings, along with witty liner notes from James himself, giving the full scoop on how this unique record came to be in the first place. Available again for the first time since 1981 on vinyl." - Manufactured.

"From 1975 -1979, things were going well for James A. Smith, musically speaking. He was writing prolifically, getting encouragement from his contemporaries -- namely, his friend Robyn Hitchcock of The Soft Boys -- and his band, The Containers, had recorded some promising demos and were playing regular live gigs. But, by January of 1980, The Containers disbanded suddenly, and James was on his own. Sod it! he thought, and, rather than waste time lamenting the situation, he plotted a new course as a solo artist. Armed only with his guitar, a drum machine and his flatmates girlfriend, Jill Fricker, to sing backup vocals, James forged ahead with his new project: The Beach Bullies. The Beach Bullies somehow manage to sound simultaneously classic and exceptionally ahead of their time. Fans of kindred spirits from the same era, such as The Television Personalities, Young Marble Giants, and yes, The Soft Boys, will find much to admire in The Beach Bullies. On the other hand, their alternating vocals, stripped-down aesthetic and minimal arrangements will also appeal to fans of artists who would emerge much later, such as The Vaselines, The Pastels, Shop Assistants and Small Factory. In their brief time together, The Beach Bullies recorded one full-length LP, We Rule The Universe, on Musclebound Records in 1980, along with a series of demos, and some rough mixes intended for a follow-up release that never came to fruition. These comprehensive additional recordings are all available as digital downloads with purchase of this LP. Original copies of the LP sell for more than $40 on the second-hand market, and the bonus tracks have never been released previously. The LP insert also includes previously unreleased photos of James and Jill from the time of the recordings, along with witty liner notes from James himself, giving the full scoop on how this unique record came to be in the first place. Available again for the first time since 1981 on vinyl and for the first time ever on CD." - Manufactured.

"Phase two of Beach Fossils starts here. Gone is the "lo-fi" and the comparisons that go with it. More expansive sounds, John Pena and Katie Garcia on guest vocals, keyboard, electronic drums....
Consider it a taster of things to come." - Captured Tracks.

"The story of Beach Fossils starts with frontman Dustin Payseur writing and recording songs for their debut self-titled LP out of his tiny Brooklyn apartment in the Fall of 2009. His recent move from North Carolina that year had left him with a sense of longing to reconnect with his past and the lush open landscape he left behind. During that year Dustin experimented with innovative methods of self-recording (using a Tascam four-track and Logic Pro) and composing. He drew his inspiration from improvisational jazz, classical and shoegaze artists, such as Anthony Braxton, pre-Stereolab project McCarthy and Giuseppe Tartini. Playing all his own instruments (keyboard, drums, bass, guitar), he soon emerged with a shimmering array of sun drenched pop songs.
Dustin eventually linked creative forces with John Pena (bass), Sennott Burke (guitar) and Cole Smith (drums) who joined the band and helped collaborate on the songs Wide Awake and Gathering. The full bands immediate chemistry and unforgettable stage presence radiate with a wild, youthful-sincerity.
Beach Fossils offers warm and inviting melodies that evoke the haunted sounds of another era: straightforward guitar riffs, a kaleidoscope of psychedelic rhythms, and distant, faded vocals all come together to make the perfect soundtrack to an endless summer afternoon.
After hearing their demo last in the spring of 2009, Mike Sniper signed Beach Fossils to Captured Tracks." -Captured Tracks. Regular pressing.

"The story of Beach Fossils starts with frontman Dustin Payseur writing and recording songs for their debut self-titled LP out of his tiny Brooklyn apartment in the Fall of 2009. His recent move from North Carolina that year had left him with a sense of longing to reconnect with his past and the lush open landscape he left behind. During that year Dustin experimented with innovative methods of self-recording (using a Tascam four-track and Logic Pro) and composing. He drew his inspiration from improvisational jazz, classical and shoegaze artists, such as Anthony Braxton, pre-Stereolab project McCarthy and Giuseppe Tartini. Playing all his own instruments (keyboard, drums, bass, guitar), he soon emerged with a shimmering array of sun drenched pop songs.
Dustin eventually linked creative forces with John Pena (bass), Sennott Burke (guitar) and Cole Smith (drums) who joined the band and helped collaborate on the songs Wide Awake and Gathering. The full bands immediate chemistry and unforgettable stage presence radiate with a wild, youthful-sincerity.
Beach Fossils offers warm and inviting melodies that evoke the haunted sounds of another era: straightforward guitar riffs, a kaleidoscope of psychedelic rhythms, and distant, faded vocals all come together to make the perfect soundtrack to an endless summer afternoon.
After hearing their demo last in the spring of 2009, Mike Sniper signed Beach Fossils to Captured Tracks. Since joining the label s roster, Beach Fossils have played CMJ,SXSW, toured the U.S. and are planning a European summer tour." -Captured Tracks

"Four songs about the summer delivered to you in the early winter. Fuzzy bubblegum 4-track pop. Features members of Crystal Stilts and German Measles. Poster sleeve. Poster life. "The Worst Dressed Band in New York." - Captured Tracks.

"An entire year after they were initially pressed, the Beak Full Of Rubies one-sided LPs are finally finished, printed, amazing and ready for the world. Scott Deroche, Chuck Sipperly & Chandan Narayan, collective improvisers and Michigan noise dudes in a sub-category of natural and organic fascination improvise and rustle in an elctro-acoustic via sampled noise and prepared instruments style. We did a CDR with them many months back as part of the Tuesday series, and they have some heavy sky-oriented tracks on comp tapes and CDs from Zum, Hanson, Encore Recordings. This is their first official vinyl release, but more should come soon in various forms. Only 100 copies pressed and well worth the wait for hand-painted covers, like an actual painting in the fine-art sense and not like slabbed on Crayola watercolors. Intense and contemplative, more beautiful than brutal." -Ypsilanti.

"Its the debut LP of
Bear Bones Lay Low, the psych noise power drone project of
Ernesto González, an 18 year old Venezuelan kid who moved
to Belgium with his family three years ago. Thick layers of
Hototogisu-like guitar drones interfere with endless tape loops
and warm washes of analogue jungle color tone to work up to
an overwhelming fuzz guitar climax, leaving listeners helpless,
ecstatic, puzzled and bemused. Ernesto has been making music
for three years now, has various solo as well as collaboration
projects going on, has released a slew of amazing selfmade
cdrs and has recently also become a full time member of
Belgiums best: freefolk/krautrock outfit Silvester Anfang,
whove got an LP coming out on Eclipse later this month.
A promising new star in the psych drone skies." -Gipsy Sphinx.

"Hacia La Luz is a gorgeous and tripping LP from this Brussels based prince of modern psychedelic electronics, Bear Bones, Lay Low, aka Ernesto González. Rabih Beaini (Morphine Records): "played Lightning Eyelids in the middle of a set, and the whole place came down!!"

"Featuring⿿
Dr. Id / Ju Suk Reet Meate
Rock and Roll Jackie / Burned Mind
Aaron Dilloway / Nate Young
John Olson / Tovah Olson
Mike Connelly / Sharkiface
Joseph Hammer / Conroy. Recorded in the midst of the American Tapes night at No Fun,
March 19, 2006. The Beast gathered for an epic noise jam
with video madness artist Alivia Zivich. That version was
released by Aryan Asshole last year on DVD. This is a CDR
version by Aural Secretions, part of the Fish Pies and BOC
network. About 27 minutes of mean mudders in the murkiness
of the Red Hook basement. Enveloped by mud and microphones." -Aural Secretions.

"The Beast People "opera". The grunts and groans of The Beast People with a FULL ORCHESTRA backing them. Definitley the strangest recording released this year. Conducted by Vladamir Barfinski in 1999.
Limited to 300 copies only in unmarked generic green 10 inch sleeves." - Hanson.

300 copies pressed. "10 Years ago, Ian Reads (Fire + Ice) Fremdheit label released two Neofolk/Experimental compilations under the name “The Pact�?. The second of these compilations contained an unforgettable track from an Australian outfit called Beastianity. Curious about the band and eager to hear more, we tried to dig up as much information as possible – but very little (if any) information was readily available. We were able to find the band shortly after the creation of Dais in 2007, and are proud to announce, along with Praise Dog Publishing, the first ever vinyl release of Beastianitys first and only album “Root�?, originally released in 1999 on CD and in Australia only." - Dais.

Re: Beastmaster: "undiscovered new genre techno slaughter solo". Re: Tusco Terror:" if u cant imagine it they will try it , turn the river yellow just like
jesus" ENDLESERIES is a collection of music exclusive to our catalog. The catalog is continuously growing. We hand lathe cut 10" virgin lacquers with aproxamately 9 minutes of audio per side. Each lacquer is cut to order. The records play at 33rpm." - Endleseries. New series of customized split 10"s from Caleb Johnston (Anonymous, Nautical Almanac, etc..).. Beautifully packaged, metal-core virgin dub plates, with handstamped, old style 78 sleeves and labels.

"After being discovered by fans of 60s underground psychedelia in the late 1980s, the sole self-titled 1967 album by Orange County band Beat Of The Earth has grown into a classic within the field, in spite of its rarity. The improvisational music on the album cannot be easily categorized, but most would agree that it represents a unique link between mid-1960s California and the droning acid rock of the later era. From a preternatural surf-era 45 and a local b-movie soundtrack, Phil Pearlmans ascent (or descent) presents a fascinating slice of music history for anyone to chew on. Unbeknown to Pearlman and friends, they had unleashed a primal head record that astounds still. Recorded in 1967 in Hollywood with legendary producer Jim Sidore, Beat Of The Earths legacy remains as fresh and inventive today as it did in 1967. Stoned Circle proudly presents a collision of vision and artistry. Professionally re-mastered original sound recording with expansive liners, interviews and rare archival photos.” - Stoned Circle.

"Phil Pearlman, whose Relatively Clean Rivers album (RRLP020) has received universal acclaim, assembled Beat Of The Earth in 1967 with this, their first, eponymous album, appearing on the Radish label (AS0001) in the same year. BOTE is often compared with their illustrious East coast counterparts, The Velvet Underground, an apt comparison given the Velvets penchant for long, unstructured jams using a myriad assortment of acoustic and electronic instruments. This is the earliest incarnation of the band, and the one that is most familiar to collectors fortunate enough to own a copy of this incredibly rare album. The album consists of a single track per side, and this, the bands recording debut, is considered an unusual and singular item of significance from the California 60s alternative rock scene. Although guitarist Pearlman managed to keep Beat Of The Earth together for much of the remainder of the 60s, it is fair to say that no more proper recordings were made, although Pearlman continued to add to his personal collection of studio recordings, drafting in new musicians for impromptu after-hours recording sessions arranged at short notice. Another fascinating psych album from a true musical innovator." - Radioactive. Highly recommended!

Artist: BEAT OF THE EARTH
Title: This Record Is an Artistic Statement
Format: LP
Label: Radich
Country: USA
Price: $24.00

"Two foundational documents of American private-press psychedelic rock emerge from decades-long shadows, deeply illuminated chapters authored by prototypical "terminally unique" Southern California artist/seeker Phil Pearlman and two of his early, briefly extant bands.
From 1967, Phil Pearlman (The Electronic Hole (RAD 002LP) and the majestic Relatively Clean Rivers (ASH 3007CD)) leads a free assemblage of local Southern California acid-heads through loping Velvetica tribal incantations. The Beat of the Earth earns its name in two side-length jams brimming with eastern-tinged luminosity. It is the sun-dappled mirror of The Velvet Undergrounds "Sister Ray." Instead of the urban decay and black and white pop art of the Warhol scene, The Beat of the Earth represents the same idea, looking west across the Pacific. This comes from the same yet intrinsically polar opposite frame of mind from the VU noise marathons of their epic live shows. Mind-expanding psychedelia done by sun-gobbed hippies that were totally out of step with everything else happening in Southern California of the pop-psych 60s. This record stands as much an outsider statement as ESP-Disks Cromagnon record (ESPDISK 2001CD/LP), or any of the Swedish bands of the Silence stable. It is a truly zonked masterpiece of tribal hippy culture dosed to the gills! Limited edition of 300." - Radich.

"The debut 7"of San Diegos Beaters, a split release with Single Screen Records, springs from the ashes of San Diego punk/soul/garage legends the Sess, comprising three members of that band. Lead by Jeremy Rojas, their brand of "pre-apocalyptic" mutant-punk fuses early-80s punk with a gamut of paranoia and weirdness, and live the band stands out as a true propulsive force. Expect a 7 soon from Zoo Music, the label run by Brandon from the Crocodiles and Dee Dee from Dum Dum Girls, as well as the debut 7 on Volar of Ale Mania, comprised of the same 3/5 members from the Sess, but this time lead by their drummer, Andrew Montoya, fusing punk, funk, and new wave paranoia." - Volar.

"In spring 2009, Robert Beatty (of solo Three Legged Race and band Hair Police) Beatty travelled as a collaborating and touring member of Burning Star Core -- with whom he has collaborated and toured as a member of for a number of years as well. Written into the setlist performed every night was slot for an improvised solo by Robert, on
his special electronics rig, synthesizer, space echo, question boxes, etc. Anything sound he wanted, "make it sing." So imagine similar to three hour stadium show, the moment for the bass solo or perhaps drum solo, except this is a few minutes out of a 30 or 40 minute long set. Except the stage doesnt rise up or no additional smoke blows across. So imagine if almost every Burning Star Core performance was recorded on this tour and these "Robert Beatty" solos were cut out and strung
along into an work of their own ? This LP "SOLOS" realizes that concept. It is live, but it is not collage; it is a document, but it is not comprehensive to the originating context. So ten complete solos, in chronological order, on two sides of LP, about run time of 35 minutes. Paste-ons jacket with creepy Robert poster to get to know. 166 copies of this work for fans of detailed-driven minimum
electronics." - What the...?.

"Glistening Examples is proud to announce “Soundtracks for Takeshi Murata” (GLEX-1302), the debut LP/CD of Kentucky-based electronic musician Robert Beatty under his given name. Beatty has long been a presence in the experimental underground as a member of Hair Police and more recently performing and recording solo under his Three Legged Race moniker. He is also well known for his visual art, which encompasses installation, drawing, video, and album artwork design for countless artists including Oneohtrix Point Never, Real Estate, Vybz Kartel, and Peaking Lights.
“Soundtracks for Takeshi Murata” collects Beattys compositions for digital video glitch pioneer Takeshi Murata, produced between 2004-2007. Beattys collaborative relationship with Murata has spawned some of his strongest work to date, and Glistening Examples is honored to present this music to the public for the the first time outside of screenings, museums, and galleries. Beatty has performed alongside Muratas work in New York, Chicago, Pittsburgh, and Beijing, where he performed several shows, including at the Ullens Center for Contemporary Art during the 2008 exhibition, "Stray Alchemists."
The formative elements of the recent Three Legged Race full length "Persuasive Barrier" (Spectrum Spools, 2013) are apparent in the rubbery pulsations of "Escape Spirit Videoslime" and the ghostly buzzing harmonics of "Untitled (Silver)". Moving between hypnotic minimalism, dense processed atmospheres, and spacious drones, often in the same track, these pieces are the perfect corollary to Muratas fractured and viscous visuals. While the video and audio are linked in the same fluid time space, the soundtracks are presented now as stand-alone works, powerful compositions drawn from the same underlying chaos apparent in Muratas ever-shifting psychedelic environments. This is exciting electronic music that invites the listener to imagine their own videoscapes with or without having viewed Muratas work.
“Soundtracks for Takeshi Murata” is published in an LP edition as well as CD format, with new artwork from Murata, design by Beatty, and digital mastering by Jason Lescalleet at Glistening Labs USA. The LP includes a download code and an 11"x17" poster. The CD includes a bonus track not found on the LP. " - Glistening Examples.

"Originally released in 1971 on John Peels Dandelion Records, Creation is the second album by underground folk troubadour Trevor "Beau" Midgley. Influenced by Tom Paxton, Lead Belly, and Dylan, Beau started to write his own songs in the late 60s. After trying to secure a contract with Elektra Records with no success, he was approached by Clive Selwood (Elektra) and Peel as they were launcing Dandelion Records. Beau signed with them and released his eponymous debut album in 1969. For his second effort, Beau decided to experiment with a more folk-rock sound and add to the mix some avant-garde influences. Jim Milne (lead guitar and bass) and Steve Clayton (drums) from Dandelion stablemates The Way We Live/Tractor were the perfect backing band for him. Creation is a brilliant psych/acid folk offering with superb 12-string guitars, heartfelt vocals, studio effects, and occasional acid-fuzz guitar. Beaus avant-garde influences come to the fore on the title-track, which verges into White Noise territory. The album closes with "Silence Returns," featuring one of the most ear-splitting fuzz assaults ever committed to wax, courtesy of Jim Milne. This first vinyl reissue includes two previously unreleased bonus tracks from 1972 (featuring Tractor as backing band), recorded for aborted third album High Mass. Also includes four-page insert featuring the first cover design (which was never used), plus detailed liner notes by Beau himself and lyrics. Master tape sound." - Sommor.

"The record is called Americas Greatest Noise and features two 12" discs: 1) has umpteen lock grooves & handcut grooves and 2) features more locks plus the pieces in full. Basically its Emil bashing the Pain Jerk (Japan ) & Putrefier ( London ) LPs I put out a few years back in his own style!! The sleeve would make George Bush proud." - Harbingersound.

"Here is one of the best albums we ever laid our hands on. Perhaps better than Public Nuisance and as good as Brain Police from Rockadelic. This album is a milestone such as Cold Suns Dark Shadow . Not one track is losing energy (and there are 14 great ones). The album was recorded in April 1968 at Western Sound Recorders L.A. for a famous surf label, but was never released. Songs such as: Loneliness Is A Sometime Thing, Dead Woman Blues and Deaf Priscilla are outstanding but as highlights of this album we would vote all 14 tracks. Just perfect vocals, tons of fuzz guitar and tough lyrics. We will love this album forever." - Shadoks.

"The soundtrack to Kenneth Angers legendary film has been unavailable to the public since the music was completed nearly 25 years ago. Bobby BeauSoleils dark psychedelic masterpiece is now available on this deluxe 2-disc set with multi-fold digipak. The soundtrack on disc one has been fully restored and digitally remastered, and the second disc includes never before heard alternate versions and rarities. The 28-page full-color booklet chronicles the history of these recordings with extensive liner notes by occult scholar Michael Moynihan, an introduction from director Kenneth Anger, a letter from Bobby BeauSoleil himself, and dozens of rare photos and memorabilia." - Arcanum.

"In 1966, Bobby Beausoleil is performing music in San Francisco and meets Kenneth Anger. Anger and Bobby agree to work together. Some music is made, some darkness befalls the scene, the two fall out. Forward to 1969, the year that Bobby ends up in prison. Anger moves ahead and in 1972 he turns to Jimmy Page to take over making the music for his film, but this pairing is doomed to fail. Ultimately the original Lucifer, Bobby, reconnects with Kenneth. Things coalesce in 1976 when, with the consent of the prison authorities, Bobby records the Lucifer Rising music with other inmates of the facilities of Tracy, CA. Its not until 1980 that the originally pressing on LP of Lucifer Rising in an edition of 1000 copies.

Originally pressed on LP in 1980 and then presented in an elaborate presentation as a 4 album boxset with the original release and session recordings related to the original soundtrack sessions, we hereby present an affordable, remastered presentation of the legendary/notorious Lucifer Rising soundtrack that was originally composed for Kenneth Angers film of the same name." - Friends and Family.

"The only available Beausoleil stuff available at this point, as the Arcanum CDs have been deleted. "Early sessions for the soundtrack of Kenneth Anger cult movie of the same name. On side A wed hear the only available rec. of The Magick Powerhouse of Oz live at San Franciscos Straight Theater in late 1967 (BeauSoleil, earlier in the same year, also played at the Invisible Circus, a 72-hour environmental community happening which was sponsored by Emmett Grogan & the Diggers...). on side B, wed hear a completely different version, thanks to The Freedom Orchestra, rec. 10 years later live at Tracy State Prison (using the box ring as stage). An alumnus of the Manson circle serving time at Tracy, the talented guitarist Steve Grogan played on this session (also all other musicians of the Orchestra were inmates). Legendary recordings, available for the first time ever on vinyl." - QBICO.

"A prison is a noisy place. The clanging of bells announcing the prison routine, the whir and ratcheting, banging and slamming of electric gates and mechanical metal doors, the ebb and flow of human vocalizations as hundreds of people caged against their will respond to their conditions in myriad ways -- to express their loneliness, or discontent, or rage, or insanity, or merely to cheer or boo a play in a football game on television -- punctuated by the shouts of guards who must enforce their authority to maintain what passes for order in such places. All of this and more is amplified within the confines of reverberant concrete walls, conspiring to make it difficult to find, much less preserve, ones peace of mind. I composed Mantra: soundscapes for meditation in response to several requests from some of my fellow prisoners. I was asked to create some gentle music that they could listen to on their personal cassette players as an aid in practicing meditation and relaxation techniques widely accepted as valuable tools in the process of healing mind, body and spirit. The challenge was to produce a musical composition that would help to mask the noise of the environment without being intrusive or demanding too much of the listeners attention, while incorporating combinations of tones and textures that may aid an individual in achieving a relaxed, meditative state of consciousness. By all reports, including my own experience, Mantra succeeds in its intended mission. As environmental music, it also seems to work well as a focusing agent when doing some types of creative work, or when reading, and to enhance the restfulness of sleep when set to play continuously through the night at low volume. You may find other uses for it as well. For all I know, it may help plants to grow more healthy, or soothe a teething baby. We are all doing time in one way or another, and the stresses of day to day life make it imperative that we find ways to generate harmony within ourselves from time to time. I hope that Mantra will serve you in this regard as well as it has served some of my friends in prison. Peace, Bobby BeauSoleil." - Qbico

"Originally released as private press limited cdr in 2001, Orb is now available for the first time on vinyl. Second full length after the classic Kenneth Angers Lucifer Rising cult soundtrack, Orb is a mystic and psychedelic rock opera influenced by Indian imagery. The perfect soundtrack to listen to while reading traditional epic Indian literature. Orb is a perfect fusion between ethereal synth, ethnic ritual percussions and the evolution of Lucifer Rising psych-progressive rock sound. Cover art (Odins Eye) by Bobby Beausoleil printed on heavy cardboard, innersleeve comes with an intense and deep autobiographical tale by Bobby himself about his life and his approach to the spiritual thought contained in the Vedic traditions, and his approach in Nada Yoga, the practice of using audible tones as the focus for inspiring and stimulating awareness of the true self, as in meditation. limited to 300 copies !" - Black Moss.

"Now, for the first time, all of the music composed for the soundtrack project has been compiled into a single public release. The Lucifer Rising Suite begins with the 1967 version of the soundtrack and continues through a logical sequence of the recordings made in the years spanning 1976-79. With respect to the latter, the original master tapes were mined for music that had not been heard by anyone in nearly three decades. The newly unearthed recordings were then restored, cleaned up and combined with those previously released to make the anthology as complete as possible. The compositions that comprise the Suite are sequenced in an order that tells a story, after a fashion. It is a story that may be impossible to tell in a strictly literary manner, one that -- like a mirrors reflection into another -- is both personal and allegorical. A complete anthology of the recordings made for the Lucifer Rising motion picture soundtrack by Bobby Beausoleil with The Freedom Orchestra and The Magick Powerhouse Of Oz. This fully authorized and definitive release will include: - Remastered recordings spanning 11 years, from the 67 recording to the Tracy Prison recordings of 78. - 4 full-length LPs worth of Lucifer Rising material with half being never-before-heard sessions personally selected by Bobby BeauSoleil. - 9 new pieces of art from Bobby: 8 record sleeve panels and one 2 x 3 poster. - 2 posters: one by Bobby BeauSoleil and one by Dennis Dread. - A much-extended version of the Fallen Angel Blues piece by Bobby that originally appeared in the Kenneth Anger DVD set. - Hymns to the Solar Temple -- impressions on a visit to Bobby at the Oregon Correctional Facility in Pendleton, Oregon by Dennis Dread. - The Saga of a Soundtrack by Michael Moynihan. - Art from Dennis Dread for the back of the LP box, also to be included as a 2 x 2 poster. - Art from Dennis Dread for the front lid of the box which will provide a window into the works of Bobbys to be found within. Remastered by Robert Ferbrache, well known for his work with Blood Axis, 16 Horsepower and others. All art has been created specifically for this release." - Anja.

"To set the scene: its 1974, its Paris, two young guys in their bed-sit (one of whom is French music maven/famous producer Jay Alanski) are dreaming of counter-culture, and their internal versions of California and New York. The result is this album, a child begotten of Marc Bolan, Baudelaire, and Lautréamont; a fascinating record, subtle and engaging as it is scarce; the re-creation of a parallel pop universe which one Michael Moorcock wouldnt have renounced. Somehow, the duo got their record out into the world on Monde Melodys one-off Silk imprint (a tribute to Marc Bolan). And what twisted songs (in English) they managed to squeeze into a fifty-minute slab of vinyl. The music drips with deep nostalgia for the decadent beautiful people who lived and breathed and then found a home in the songs of Lou Reed and Leonard Cohen, pervaded throughout with a kind of psychedelic sadness. All of this is expressed by means of long, jagged acid guitar runs (or in acoustic strums) supported by Moroccan percussion (bongos?) and heavy bass lines from Christophe J. A post-quaalude album, as band leader Jay Alanski has said. If the LP had been released in 1971, everyone would point to T-Rex as an influence, and call it glam folk; fast forward to today and its hard not to think loner, and draw comparisons with the music of Devendra Banhart, albeit recorded 35 years ago! Were now several decades further on in the worlds slow self-destruction, but this sole recording by the Beautiful Losers has lost nothing of its freshness and superb arrogance. Blessed be the listener who is going to discover such a hidden treasure!" - Lion Productions. Includes a 32-page booklet and bonus track "Nobody Knows The Heaven" (alternate version).

"Its 1974 in Paris. Two young guys in their bed-sit (one of whom is French music maven/famous producer Jay Alanski) are dreaming counter-cultural dreams, spinning their own eternal versions of California and New York. The result of those imaginings is this album, a child begotten of Baudelaire, Lautréamont—and Marc Bolan. Its a fascinating record, engaging as it is scarce (as in impossible to find): a look into a parallel pop universe. Somehow, the duo got their record released on Monde Melodys one-off “Silk” imprint. And what twisted songs (in English) they managed to squeeze into a fifty-minute slab of vinyl! The music drips with deep nostalgia for the decadent “beautiful people” who lived and breathed and then found a home in the songs of Lou Reed and Leonard Cohen, pervaded throughout with a kind of psychedelic sadness. All of this is expressed by means of long jagged acid guitar runs (or in acoustic strums) supported by Moroccan percussion (bongos?) and heavy bass lines from Christophe J. If the LP had been released in 1971, everyone would point to T-Rex as an influence, and call it “glam folk”; fast forward to today and its hard not to think “loner,” and draw comparisons with the music of Devendra Banhart or others who have followed his lead into the consciousness of the greater music loving public." - Lion Productions.

“Were now decades further on in the worlds slow self-destruction, but this sole recording by the Beautiful Losers has lost nothing of its freshness and superb arrogance. Blessed be the listener who is going to discover such a hidden treasure!” —Jean-Emmanuel Deluxe.

2016 repress. "Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the 70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French." -Born Bad.

"Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the 70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. CD housed in a digisleeve with a 8-page booklet." -Born Bad.

"Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the 70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French." - Born Bad.

"Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African thumb piano), it was just sitting there on a piece of furniture in my familys living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musicians ears, trained in Western classical music, it sounded out of tune. Thats because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our fathers passion for unusual sounds did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my serious English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept world music. Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like Agatha and La condition masculine. But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: Lets see what you can do with it! Thats when I really discovered something. Exploring the instrument and playing, I transcended the imperfect aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his laboratory. Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners dont become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" -Patrick Bebey.

"Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African thumb piano), it was just sitting there on a piece of furniture in my familys living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musicians ears, trained in Western classical music, it sounded out of tune. Thats because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our fathers passion for unusual sounds did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my serious English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept world music. Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like Agatha and La condition masculine. But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: Lets see what you can do with it! Thats when I really discovered something. Exploring the instrument and playing, I transcended the imperfect aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his laboratory. Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners dont become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" -Patrick Bebey.

"In the vast world of electronic music, where sounds, signifiers and gestures are recontextualized to a numbing degree, it is increasingly rare and refreshing to encounter a release as perspective-distorting as the debut full-length release by Rashad Becker. The album is a masterpiece of focused, non-referential electronic environments. It is both warm, alien, paranoid and exhilarating. Sounds are stretched in the most unusual manner, foreign bodies are frequent and the structure is simply bewildering. Split into "Themes" and "Dances," the eight tracks guide the listener through Beckers brave new world. Despite being entirely synthetic, there are sounds which appear like a distortion of the world around us, on occasion "voice-like" sounds are present, elsewhere there appears the sound of cicadas, only these cicadas are made of mercury and swim through time. The end result is beautiful in a way only a unique work of art can be. PAN is proud to present the outside from within. Mastered and cut by Becker himself at Dubplates & Mastering, and pressed on 140 gram vinyl." -Pan.

"Rashad Beckers new full length album, Traditional Music of Notional Species Vol. II, is a newly developed continuation and exploration of work since his highly-acclaimed first volume (PAN 034LP, 2013). Incorporating more instrumental-sounding components, the record moves through both fluid and dissonant sounds, which take on different structural and sculptural challenges through carefully-layered compositions. Following Traditional Music of Notional Species Vol. I, Vol. II expands in various elements, distorted and warped, focusing in on the tension and energy of synthesized sounds that appear to exist, hauntingly physically. Known for his unrivaled attention to sonic detail across his work, Beckers unique techniques and expressive manipulations of sound are laid bare in an exhilarating new form, stylistically distinctive and uncompromising. The album is mastered and cut by Rashad Becker at Dubplates & Mastering. Artwork by Bill Kouligas." - Pan.

"Music From Memory present a few tracks from Heinz Becker, Karl-Heinz Stegmann and Isabel Zeumers 1987 album Ich Träume So Leise Von Dir. One off German studio project with spoken word and electronics." - Music From Memory.

"Bedlam and its earlier incarnations (Ideal Milk, Big Bertha, etc.) were a hotbed for launching the career of superstar drummer Cozy Powell (RIP), who later played with such major Hard Rock acts as Whitesnake, Rainbow, and Black Sabbath. In this earlier stage, we can hear the fantastic guitar playing of Dave Ball very influenced by Cream/Clapton, his brother Denny on bass and Cozy on drums. In fact this early incarnation of Bedlam called Ideal Milk was almost a tribute to Cream. Moving on later, singer Ace Kefford enters the picture for a short stint with the band where they change the band name to Ace Kefford Stand. Ace was the ex-bass player of the Move. The B-side of the record has the Big Bertha demos which had different singers including Denny Ball which also sang on Ideal Milk. The style is still similar to Cream/Jeff Beck Group, sometimes with an heavier edge predicting what was going to come after 2 years (meanwhile Cozy was with The Jeff Beck Group and Dave Ball joined Procol Harum). Reissue limited to 400 copies with insert that includes detailed song liner notes written by Denny Ball and rare pics. Remastered from the master tapes for best sound quality possible." -Acid Nightmare.

"Edition of 500. In the nu-world order of neo-kosmiche "one man, a synth and a looper pedal" musicians, Chris Madak rises above the rest with an astounding body of work that has been brewing since the later half of the 00s. Canzoni Dal Laboratorio Del Silenzio Cosmico is an outstanding document in the long, complex, and complicated discography that is the Bee Mask project. A carefully and meticulously-composed album thats on par with the greats of electronics Lovely Music or INA-GRM catalogs. Straying from the current nature of improvised "one take" synthesizer music flooding the underground electronic community today, Chris has created an elaborate narrative which captivates and inspires the listeners imagination. "Canzoni" is a piece of work that soundtracks an event thats shrouded in mystery and beauty, at once larger than life in its grandeur and yet somewhat cryptic. Released as a limited edition cassette on Gift Tapes in 2010 and now where it should be on the longest surviving recorded format." - Spectrum Spools.

"Chris Madak has been on a tangled and cryptic path toward the full realization of his Bee Mask alter ego. Now, for the first time, there seems to be light at the end of the tunnel -- a chance for old plans to come to fruition and for new ideas to blossom into the unknown. Elegy For Beach Friday is a personal selection of highlights from a slew of limited cassette and CD-R editions recorded between 2003 and 2010, re-imagined, re-edited, and remastered, offering both a cross-section for the uninitiated and a fresh enigma for the already-enchanted. The original documents will age on the shelves of those fortunate enough to have been in the know, and for the rest of the world, we now have this double LP retrospective of Chris favorite time-stopping microcosmic suites, woven together over four instantly classic sides of wax. Here, the full range of Bee Masks sonic palette has been carefully compressed into a dazzling and infinitely dense time capsule of mind-altering Martian sound fields and psychedelic dimension-bending, bridging the worlds of Nikola Tesla and La Monte Young and giving us the ideal soundtrack for our collective walk down a dirt road into the gaseous cloud of our final days. Synthesizers, percussion, piano, guitar, tape, electronics, and max/MSP recorded 2003-2010 in Northampton, MA, New York, NY, Cleveland, OH, and Philadelphia, PA. Edited and mixed at Tranquility Base, February 2011. Cut at Dubplates & Mastering, May 2011. Housed in a deluxe, full-color gatefold sleeve with spot-varnished lettering." -Spectrum Spools

"Chris Madak has been on a tangled and cryptic path toward the full realization of his Bee Mask alter ego. Now, for the first time, there seems to be light at the end of the tunnel -- a chance for old plans to come to fruition and for new ideas to blossom into the unknown. Elegy For Beach Friday is a personal selection of highlights from a slew of limited cassette and CD-R editions recorded between 2003 and 2010, re-imagined, re-edited, and remastered, offering both a cross-section for the uninitiated and a fresh enigma for the already-enchanted. The original documents will age on the shelves of those fortunate enough to have been in the know, and for the rest of the world, we now have this CD retrospective of Chris favorite time-stopping microcosmic suites. Here, the full range of Bee Masks sonic palette has been carefully compressed into a dazzling and infinitely dense time capsule of mind-altering Martian sound fields and psychedelic dimension-bending, bridging the worlds of Nikola Tesla and La Monte Young and giving us the ideal soundtrack for our collective walk down a dirt road into the gaseous cloud of our final days. Synthesizers, percussion, piano, guitar, tape, electronics, and max/MSP recorded 2003-2010 in Northampton, MA, New York, NY, Cleveland, OH, and Philadelphia, PA. Edited and mixed at Tranquility Base, February 2011. Cut at Dubplates & Mastering, May 2011." -Spectrum Spools

Silkscreened jacket. "I think Chris Madak was born after impact in a car crash, and his Hyperborean Trenchtown will enter the world in a similar fashion. The album resonates a future sound vision that can only come from an old soul destined to further pave the paths laid by electronic and minimalist pioneers. Thorough audio examinations covering every facet of sound/tone property as a whole will reveal astonishing new layers listen after listen. Undeniably pure processes of creating and sustaining sound visually, sonically and otherwise brings a mathematical and scientific accuracy that hasnt been seen since the days of Lovely Music Ltd. or GRM. The albums two side-long cuts are divided into two displays of versatility with varied sound sources including amplified acoustic instruments, hand-made electronics, phonography and more. Brilliant textures and audio hallucinogenic time/space wormholes create infinite listening possibilities for this album. Few albums can create such a disorienting tunnel that it sounds as if the record has multiple albums locked within itself -- you can hear these sounds and interpret them in so many ways that only time can unlock its many possibilities. Great albums only gain significance and this is surely no exception. Listen to this record on your turntable and stop time completely or melt into the past or the future with it -- your choice." -John Elliott.

"No mutant enemy shows that chris madak (bee mask) already has mastered his NEW "zone"... bells, chimes, and intense synth droning... this tape similar to style on the B side of the Trenchtown LP on Weird Forest but darker ... really beautiful and weird at the same time..." - Pizza Night

"Bee Mask is a project from Chris Madak, a native of Cleveland, Ohio now residing in Philadelphia, and a vehicle for an intricate and deeply warped sensibility which remains coherent without being beholden to specific techniques or materials, drawing equally on the ecstatic human/machine couplings of 1970s West Coast synthesis, the fractured gloss of sampler concrète, the iridescent thumbprint of high minimalism on the IQ-decimating throb of trunk bass, and the barely-sublimated currents of vertigo and terror that course beneath the most unsettling moments in the canon of home-recorded psychedelia. Editions of his recent work are available on Spectrum Spools and Room40. His new edition for Room40, Vaporware/Scanops charts a new and at times unfamiliar musical universe, a galaxy of complex patterns in constant states of evolving and dissolving. These are pieces that unfold with an unerring organic sensibility that belies the sound-sources used. Like much of Bee Masks output to date, this is a world of controlled voltage and sequenced chaos. But there is a twist in the form of the unexpected and utterly welcome addition of voice. Over the two long-form pieces, Bee Mask reveals a juxtaposition of deeply electronic materials with a swelling cascade of vocal loops recorded by Autre Ne Veut and Katherine Brady. The resulting sound is quite unlike anything weve heard from Bee Mask before. Cut at Dubplates & Mastering, Berlin. Limited vinyl edition of 500 copies housed in a gorgeous matte celloglazed sleeve." - Room40.

"The seven pieces on this LP were developed over a period of about five years; Rain in Coffee is built on a Hyperborean Trenchtown-era demo, while Pinq Drinq -- sorrel, for the record, and neither guava nor antacid as certain wags have already ventured -- was reanimated directly from the cutting-room floor, 11th hour, 2012. As a whole, they should probably be considered the proper sequel to Canzoni dal Laboratorio del Silenzio Cosmico, extending that records preoccupation with the dream interiors of post-1965 Fellini and synthesizing (pun very much NOT intended) it with Elegy for Beach Fridays fascination with the lush and abject facets of advanced gastronomy and the embrace of the recursive, solipsistic, simultaneously expansive and claustrophobic universe of the sampler on Vaporware/Scanops. However, in direct contrast to each of those prior works, When We Were Eating Unripe Pears draws more deeply on formal ideas from the history of records than any Bee Mask release to date. Toward this end, most of its constituent tracks were hammered into their finished shapes on the road throughout 2011 and 2012. Those of you who heard me on tour in the United States, Canada, Australia, and Japan, and particularly at Voice of the Valley, the Bunker, and Labyrinth played a part in the process of shaping this material and so may well experience the shock of the familiar. When We Were Eating Unripe Pears was recorded in Cleveland and Philadelphia between 2007-2012. It was edited and mixed at Tranquility Base in Summer 2012, mastered and cut by Rashad Becker at Dubplates and Mastering, and pressed by Pallas Group. The first 300 copies are on translucent green vinyl. Mark Price did the photography and layout. Special thanks are also owed to Jason Anderson, Katherine Brady, Matt Carlson, John Elliott, Lawrence English, Daniel Lopatin, and Alex Moskos, without whose perspectives this would be a very different and much lesser beast." -Chris Madak, Philadelphia, October 2012.

2013 release, edition of 250 copies."This duo of Pete Swanson and Brian Sullivan go for the straight scuzz. Grey matter is sacrificed for damaged tones pinched through the loop in vague rhythms. Its not anywhere close to techno or anything like that... its more like the scattered ramblings of a discordant machine, drunk on software and freaking out for all the masses to hear." - Our Mouth.

"My name is Mark Beer. I am an English artist - a musician/producer, I released various records on my own Waste Records and My China Records labels between 1978 and 1981 which were distibuted by Rough Trade Records (for whom I recorded the single Pretty) . Also, some solo and collaborative pieces were released in Belgium and Germany on singles, EPs and compilation albums . I have always thought of my work as art rather than entertainment . I make that distinction to emphasise my view that art is intended to nourish, whereas entertainment is intended to amuse - the difference between food and chewing gum . Over the years I have worked with many different live bands, and privately, as an experimenter. This cassette ( released by OSR ) is my first published work since 1986 , it comprises 2 new songs - Mosaic Man and All That We Hold Most Dear, and two from the early 1980s - Love Dances Warm and The Small Get By . In recent years , I have been continually writing and recording . The possibility of a complete reissue of my early work has been discussed lately , so it may see the light of day in the relatively near future." - OSR.
Cassette [OSR74] by Mark Beer

"Jackson Heights, Queens favorite sons THE BEETS return to the 7-inch format with two exclusive tracks. Recorded by JARVIS TAVENIERE of WOODS and featuring some lead guitar by JB TOWNSEND of CRYSTAL STILTS. Neither of these tracks appear on the forthcoming Stay Home LP due in October. As always, you get killer MATT VOLZ art to go with." - Captured Tracks.

"Jackson Heights favorite sons make good and make their first
recording in a real real studio. All the snarly, bratty fun of the LP
with a newfound clarity and confidence. Stormer A-Side, sad-sack
B-side. Full color sleeve, insert and labels featuring all of your
favorite wrestling superstars, superheros and naked ladies with
artwork by Matt Volz (The Fall)
" - Captured Tracks.

SOLD OUT

Artist: BEETS, THE
Title: Spit In The Face Of People Who Dont Want To Be Cool
Format: LP
Label: Captured Tracks
Country: USA
Price: $13.00

Captured Tracks is Mike Snipers label (Blank Dogs). "Debut twelve-track LP from these proud sons of Jackson Heights, Queens. Sprung from seemingly nowhere to playing constantly in Brooklyn. Shades of Los Mockers, Chicos Electricos, pre 65 Stones, early Ramones and Shimmy-Disc era Daniel Johnston. I saw these guys almost start a riot at a Fashion Week event and then proceed to party down with Mickey Rourke. Absolutely amazing. Beautiful full-color sleeve by Matt Volz." - Caputured Tracks. Repressed with full color insert

SOLD OUT

Artist: BEETS, THE
Title: Spit On The Face Of People Who Dont Want To Be Cool
Format: CD
Label: Captured Tracks
Country: USA
Price: $10.00

"The instant classic Beets LP, now available on the popular "CD"
format. The songs you love, available for listening to in cars, shower
radios, etc. These guys are currently blazing their way across the
States on the "Nightmare of Sound" tour with the Vivian Girls. (Check
out the promotional tour video here:
http://www.youtube.com/watch?v=_rTvnBG-gO8) The inlay and disc contain
all new Matt Volz artwork, featuring even more professional wrestling,
blood and disrespect for people who dont want to be cool." - Captured Tracks.

"Limited edition 180 gram vinyl LP version. Recorded live to tape in two days, after a sleep deprived month of Beefheart style creative lockdown, Begushkin -- Dan Smiths 8-headed hydra -- lay to rest the twilight folk of 2007s Nightly Things and re-emerge with the wicked and strange hard rock gypsy shake of Kings Curse. Smith yells and carries on like a man possessed with tales of the damnation of a robber king and the band plays it ultra tight and ultra heavy. Kings Curse is higher-tier creep-rock." -Locust

"Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer, and composer of experimental music. He started concerning himself with electro-acoustic music in 1972. He was a member of Josef Anton Riedls ensemble and an assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). In Cologne, he organized numerous concerts and festivals for experimental music, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. He regards John Cage, Alvin Lucier, Jackson Mac Low, and David Tudor as his most important teachers, with whom he also collaborated, and has performed his own live-electronic and text-sound compositions throughout Europe. This LP pairs a live-electronic and a text-sound piece: "Nachtflug" ("Night Flight", 1999) is based on electronic treatment of the sounds of bats made audible, and is performed by Hans W. Koch and Behrendsen. "Atem des Windes" ("Breath of Wind", 1999-2005) is a text-sound composition on the subject of the wind, inspired by a Taoist text by the Chinese philosopher Zhuangzi, and features the voices of Bettina Wenzel and Behrendsen. Full-color sleeve and inner sleeve; Edition of 300." - Edition Telemark.

"German composer and sound artist Marc Behrens has put forth a beautiful
installment of sound work for CMRs second CD release, entitled
Architectural Commentaries. Marc has been working with sound (in one form or
another) since 1986 and is probably most recognised for his digitally
re-worked field material and composition. With a long history of
installation work and live performance, he has exhibited alone and in group
exhibitions; and performed live internationally in locations such as Japan,
Switzerland, Italy, Slovenia, Spain, and the UK. He has completed tours with
fellow sound artists Francisco Lopez, Bernhard Gunter and John Duncan and
has had notable CD releases on Gunters label Trente Oiseaux (Germany),
Digital Narcis (Japan), Raster Music (Germany) and Intransitive Recordings
(USA).
Architectural Commentaries is comprised of five tracks. The first three
pieces, entitled Architectural Commentaries 1-3, are some of Marcs most
recent compositions arranged in 2001 using basic material recorded from
1990-2000 in various global locations. Taking title, sleeve images and sound
together we are left with new audible environments for architectural
structures; jets of forced air and amplified nothing, distant machinery and
tiny bites of frequency, faded and cut together to create beautifully
atmospheric soundscapes. Track 4 was previously released on RLWs Tulpas 5
CD set (Selektion 024) and was constructed using source material from Ralf
Wehowsky. Track 5 was composed in 1992 as a soundtrack to accompany the
video Der Raum by Torsten Grosch - stills of which feature on the CD sleeve.
The album permits a smooth flow between Marcs earlier and more recent work
and shows the artists continuing exploration into the depth and dimensions
of sound recording." - CMR.

"M. Behrens is considered one of the most talented young artist in the experimental electronic scene of Germany. His music has been released by many national and international labels. Recently his intricate, intense sound objects and compositions have been celebrated in Tokyo and Osaka. Back in 1992, when the first parts of this record came into being, M. Behrens started to experiment with extreme frequencies, although less conscious and docmatic than in his later works." - Wachsender Prozess.

2005 release. “David Behrman has been active as a composer and artist since the 1960s. Over the years he has made sound and multimedia installations for gallery spaces as well as musical compositions. Sam Behrman and Siegfried Sassoon met in 1920, when Behrman, then a young writer working at The New York Times, was sent to interview Sassoon at the start of the English poets postwar American lecture tour. In that tour Sassoon was billed as "Englands Soldier-Poet." He had a reputation both as a war hero and an anti-war poet and peace activist. Many years later, each author wrote about this youthful meeting, which inaugurated a long-lasting friendship and a correspondence, mostly conducted via trans-Atlantic letters between England and America, which continued into the 1950s. My Dear Siegfried provides a performance environment in which musicians interact with texts by the two authors and with music software designed to respond to the performers actions. The texts and the software elements are arranged as a linear thread along which the piece progresses. In QSRL (1998) a sensor listens to what the performer is doing and a computer music system provides responses to information the sensor takes in. Viewfinder (2002) is a sound installation using software based on homemade synthesizer music of the early 1970s. In A New Team Takes Over (1969), homemade synthesizer modules were used in this piece to distort recordings made off the air of press conferences by members of the new Nixon administration following the American election of 1968. Touch Tones (1979), from the early days of music done with the help of newly-available, small, inexpensive "microcomputers," made use of a kind of primitive artificial intelligence scheme. Pools of Phase Locked Loops (1972) was one of four pieces made in response to commissions to the artists of the Sonic Arts Union (Robert Ashley, Alvin Lucier, Gordon Mumma, and Behrman). The recording is from a live performance at Radio Bremen in May 1972.” - XI.

1991 release. “Unforeseen Events is one of many pieces David Behrman has made with computer software designed to interact in real time with a solo performer. The four sections recorded here were made specifically with Ben Neills performance style in mind. The electronic timbres are intended to complement the sounds of his instrument, the admirable and humorous mutantrumpet, with its three separately-mutable and playable bells. Refractive Light consists of three small pieces based on an interweaving and overlapping of simple phrases. A musician strikes pitches that trigger responses in the form of sustained tones. The tones die out after a few seconds. While a tone is on it deflects the pitches of other "on" tones, so that harmonic changes occur at the on-and-off edges of overlappping layers. The idea can give rise to a kind of fanning or breathing rhythm that adapts itself to different styles of playing, and to a harmonic vocabulary with dozens or scores of family members.” - XI.

"2015 remastered CD in digipak with 12-page booklet including liner notes written by the composer as well as diagrams and scores relating to the published works. Wave Train, originally released by Alga Marghen in 1998, collects experimental works by David Behrman recorded between 1959 and 1968, featuring the Sonic Arts Union. The CD starts with "Canons," a short piece created in Darmstadt over three weeks in the summer of 1959 with David Tudor on piano and Christoph Caskel on percussion. "Ricercar" is a prepared piano piece made in 1961 and has the flexible form of the kind favored by European composers in the early 1960s, and also reflects the work of Cowell and Cage. "Wave Train" (1966), a powerful feedback piece performed live with Gordon Mumma, marks the radical moment when Behrman threw away established techniques. "Players With Circuits" (1966) is an exploration of raw materials; a combination of live electronics and amplified acoustic sound. "Sounds for a Film By Bob Watts," for outdoor environment recording and homemade synthesizer, was recorded at Stony Point, the artists cooperative which John Cage, David Tudor, Sari Dienes, and other friends had established. The last piece, "Runthrough," was made for performance by members of the Sonic Arts Union: Alvin Lucier, Gordon Mumma, Robert Ashley, and, of course, Behrman himself; two of them working the dials and switches of homemade synthesizers, and two others distributing sound in space with homemade photocell mixers; Time Records released a different version of this piece in 1969." - Alga Marghen.

"Sinclair Beiles (1930-2000), one of South Africas more unusual and often underrated poets, left his home country in the mid-fifties and after spending time in New Zealand, Spain and Morocco he moved to Paris which at the time was the centre of international bohemia. Beiles worked in Paris as chief editor for publisher Maurice Girodias Olympia Press and established links with the American beat generation of writers, particularly Allen Ginsberg, Brion Gysin, Gregory Corso and William Burroughs. Together they collaborated on the legendary collection of Dadaist cut-ups, Minutes to Go. When the Paris scene fell apart in the early sixties, he left for Greece. In 1969 Beiles published a volume of poetry Ashes of experience, his first substantial publication.
Beiles returned to South Africa in the seventies and later married fellow poet Marta Proctor. They moved into a house in Yeoville, Johannesburg and soon became part of the Yeoville artistic group in the eighties. He often performed his poetry live, at venues such as the Black Sun. In 1997 Beiles finally received some recognition when the French Cultural Institute and the British Council of Johannesburg organised a Beat Hotel exhibition in Carfax where Beiles read his poems. Beiles had a history of mental instability and his illness made him at times unpredictable and volatile. ‘Chopin in Majorca is a one-man play and was recorded in 1989. Cover photo by Gerard Bellaart. Edition of 100 copies." - Sloow Tapes.

"BELABORIS was born in 1982 as the brainchild of Finnish producer KIMMO MIETTINEN. What Malcolm McLaren had been to The Sex Pistols, Miettinen was to Belaboris. He would put together an all-girl band that looked great in photographs but were backed by professional musicians. The first line-up was VILMA VAINKAINEN, SISKO VAINKAINEN and RITA on back-up plus JAKE and MARI who did not sing at all. The backing band behind Belaboris was a local New Wave group called TYHJAT PATTERIT. The main songwriter was ESA IJAS (guitar, synthesizer) along with his bandmates ARI IJAS (bass) and MARTTI JALONEN (drums). Belaboris debut 12" single "Kuolleet Peilit" was released in November 1982. It was followed by the "Odotus" 7" single in February 1983. The band broke up and posthumously released a mini-LP called Olipa Kerran in 1984. WIthin a few months, an all new Belaboris line-up was put together. This version was a trio consisting of SAARA SOISALO, SALLAMAARI MUHONEN, and MINNA SOISALO. They released a 7" single "Rakkauden Jaelkeen," an atmospheric electronic version of 60s Scandinavian pop hit by Carola. Shortly thereafter this line-up was quietly shelved and no further efforts were made. Once Upon A Time collects songs from all three EP releases and the "Olipa Kerran" mini-LP as well as two unreleased demos never before on vinyl. The vinyl comes housed in a full color jacket and includes an insert with liner notes, lyrics and photos." -Dark Entries.

"Natura Morta, "dead nature" or "still life." This album can be understood as a powerful study of the minute details of the art of electro-acoustic composition, as much as the Renaissance "nature morte" were a masterful display of the artists skill in portraying the glow of a ripe fruit, or capturing the light beaming on a vacant chair. Six tracks, to be listened to as two long explorations in the art of variation and repetition. Layers of drums and percussions intertwine with synth waves, making the portrait come to life, detail after detail, until a complex figure emerges from the white canvas. The constant, unsteady sounds, wavering noise, swirling cymbals, and distant feedback gently pull the listener into the picture, letting them enjoy every detail of these beautifully-staged compositions. Recorded at EMS studio, Stockholm, ZKM in Karlsruhe and at the legendary Funkhaus in Berlin, this album mixes influences from both Italian minimalism and the electro-acoustic contemporary scene. Somewhere in between the electronics of Keith Fullerton Whitman, the percussive repetitions of Jon Mueller, and the atmospheric sensibility of Pan-American." - Miasmah.

“Natura Morta, "dead nature" or "still life." This album can be understood as a powerful study of the minute details of the art of electro-acoustic composition, as much as the Renaissance "nature morte" were a masterful display of the artists skill in portraying the glow of a ripe fruit, or capturing the light beaming on a vacant chair. Six tracks, to be listened to as two long explorations in the art of variation and repetition. Layers of drums and percussions intertwine with synth waves, making the portrait come to life, detail after detail, until a complex figure emerges from the white canvas. The constant, unsteady sounds, wavering noise, swirling cymbals, and distant feedback gently pull the listener into the picture, letting them enjoy every detail of these beautifully-staged compositions. Recorded at EMS studio, Stockholm, ZKM in Karlsruhe and at the legendary Funkhaus in Berlin, this album mixes influences from both Italian minimalism and the electro-acoustic contemporary scene. Somewhere in between the electronics of Keith Fullerton Whitman, the percussive repetitions of Jon Mueller, and the atmospheric sensibility of Pan-American.” - Miasmah.

"A long three track CDR collecting a particularly insulated and homespun
era of the BELIEVERS development. Especially the longer-than-album-side
rendition of their standard, Down to the Lake. Step inside, take a
breath, get to know this album. Perhaps you will glimpse the reasons why
so many in the valley are holding their breath for the BELIEVERS debut
LP⿦. Features members of SON OF EARTH, SHACKAMAXON, DUCK, IDEA FIRE
COMPANY, SAPAT, so many other spins, the whole meatball is here.
Packaged in simple xerox folded jackets, origami style." - Blueberry Honey.

"This cdr release repeats a number of hits off the first Believers cassette. These are completely new versions re-recorded and mixed for this release. Weve also added a number of new songs to the plate. Youll find the fidelity takes a giant leap upwards on the cdr, as compared to the cassette. Original packaging consisted of a Believers puzzle and disc in a clear plastic bag. This official release version has hand printed lino-cut artwork and informative insert." - Apostasy.

"The Believers were, in many ways, the flagship band of the Apostasy Recordings empire. Their roots were in the Hampshire College-based experimental outfit, Son Of Earth - Flesh in Bone Trio (generally shortened to Son Of Earth), via Matt Krefting and John Shaw. Also on board were Anna Klein (player with many woefully under-documented ensembles) and Jessi Swenson, Esq. (who was associated with various Scott Foust projects, and would go on to 50 Foot Women). But much of this other work was abstract weirdo-ism. The Believers were, more or less, a rock band, and they kinda fucking ruled. They recorded an album for Ben Chasnys planned label almost a decade ago, but the release never ended up happening, and the Believers split into their component parts not long afterwards. But our memories of their throbbing presence and carefully planned wardrobe choices would overwhelm us some nights, and wed find ourselves startled awake, covered with sweat, thinking we had missed several important boats by not documenting their passage in the proper way. In the intervening years, the four Believers have gone off to different pastimes. Some are related to music, some are not. And it took some wheedling on our parts, but we finally got this live LP out of them. And it cooks. One side was recorded in 04 at the old Flywheel in Easthampton, and provides a rather clear portrait of their sweetly thuggish pop dynamism. The flip was recorded at the same venue in 06, with guest squeedle provided by Conrad Capistran and Joshua Burkett (aka Tarp). Although we often think of Tarps sound as retiring, here it is aggressive. And it adds a strangely perfect width to the droogly and angular lurch of their inventions. A beautiful album. Long overdue." - Byron Coley, 2016. Edition of 400.

"To many, CRAIG BELL is well known as bass guitarist / singer with MIRRORS and ROCKET FROM THE TOMBS, two bands that were among the foundation stones upon which the Cleveland, Ohio music scene of the 1970s was built. What many may not know is that Craig was also an integral part of the beginnings of another era of creativity in New Haven, Connecticut in the following decade. With like minded musicians, Craig formed SAUCERS, FUTURE PLAN, THE PLAN, THE BELL SYSTEM and THE RHYTHM METHODISTS in the years he lived on the East Coast (1976—1989). Craig released few recordings during this time, two singles with Saucers, “What We Do/Muckraker” (1979) and “A Certain Kind of Shy/Shes Alright” (1980), songs on the compilation LPs It Happened But Nobody Noticed (1982) featuring cuts by Saucers and The Plan, while The Bell System had their “America Now” released on the radio station only SCREAM promo LP (1985), and a single by The Plan, “I Love New York/I Hate New York/When Its Too Much” (1983), most of them on his Gustav Label. In 2002, a CD compilation by Grand Theft Audio out of Los Angeles collected the entire studio output of Saucers on an album titled What We Did. This, along with reissues of songs Craig played on with Mirrors and RFTT, was the only recording of his work available. 2016 brings aka Darwin Layne, an LP featuring 11 historic recordings, both live and studio, featuring Craigs songwriting and his bands Future Plan, The Plan, The Bell System, and The Rhythm Methodists, along with selections by Saucers, Mirrors, and THE BRIDGEPORT BAD BOYS." - Ever/Never.
aka Darwin Layne by Craig Bell

"This is the repress of “Dreams of Falling”, the first album by musician and poet Sandra Bell, from New Zealand." - Körper/Leib.
"The record was born after a discussion with Peter Jefferies in Dunedin, about rerecording the song “Industrial Night“.I had known Peter vaguely from Auckland but never worked with him. “Industrial Night” was on my first vinyl release the EP “Blackbirds” which I had recorded in Auckland, and I wanted to reinterpret it. For the next year, from the end of 1990 until the end of 1991, we also recorded a back log of my other songs on and off at our home in Maitland St, and also Fish St and Studio 13. Peter was a master of the Teac 4 track, and of musical arrangement. I was able to experiment and realise the potential of each song with his advanced skills. It seems miraculous looking back now that it was all done on 4 tracks, bouncing down at times and using two 4 tracks at one time for other tracks. I remember a cut in a song meant an actual cut of the tape, which Peter did with precision and skill. The wonderful musicians who played on the album took the songs from mundane to sublime- David Mitchells lead break on Industrial Night was exhilarating and exciting, Kathy Bull added clever bass lines, Peters industrial drumming was a constant force, Alastair Galbraiths violin, Bruce Bluchers guitar, and the unmistakable distorted keyboards of Peter Gutteridge all added intrinsically to the final sound . Actually Peter Gutteridge recently said to me about Subway Nihilism” I should have got a co- writing credit for that song” as it was created in a session at Maitland St, when I put a poem to his riff, so he was right about that. A couple of the songs where influenced by a spell living alone in the Queensland rain forest- Manai is influenced by aboriginal music and legend, as was Waitawhile, which is the name of a spikey rainforest plant. The Country girls is a song for my sister Jean, about the loss of our mother when we were young. Floating aground was written about Aramoana- Peter and I had been inside for a few days totally absorbed in recording-I was speaking to my elderly neighbour who told me 13 people had been killed at Aramoana, I thought she was completely mad, but so sadly it was true. We were at Aramoana for a memorial service, and walking along the beach there were flowers in the water, which reminded me of St Marie De La Mere in the Sth of France, where the gypsys take an effigy of St Marie into the sea each year. Dreams of Falling was picked up by Xpressway who had released Peters album, then by Turbulence in Belgium, and opened up a new world for me which led on to another 3 albums, tours of America and Europe." - Sandra Bell.
Dreams Of Falling by Sandra Bell

"Sandra Bells Dreams of Falling is an experimental tour de force that ranges from ethereal sound collage to poetic industrial noise. Originally released as a cassette on New Zealands Xpressway label in 1991, the record also features Peter Jefferies, Peter Gutteridge, Alastair Galbraith, Kathy Bull, David Mitchell and Bruce Blucher. Essential listening for any NZ underground music fan." - Straight to Video.

“Secret NZ Ripper made in Dunedin in 90-91. Originally released as a cassette on Xpressway, the record boasts this nearly unfathomable cast in addition to Sandra Bell herself:
- David Mitchell (Exploding Budgies, Goblin Mix, 3Ds, Ghost Club)
- Bruce Blucher (Alpaca Brothers, Trash, Cyclops)
- Kathy Bull (Look Blue Go Purple, Cyclops)
- Alastair Galbraith (the Rip, Plagal Grind)
- Peter Gutteridge (The Clean, Great Unwashed, Snapper)
- Peter Jefferies (Nocturnal Projections, This Kind Of Punishment, Plagal Grind, Two Foot Flame, Cyclops)
Dreams Of Falling holds a singular place in both Sandra Bells discography and the evolution of New Zealands underground music. Bell is a singer, songwriter and poet, currently residing in Auckland, New Zealand, who has been making records since 1984. Each one is marked by the place and time where it was made. The moody folk rock of Blackbirds, from 1986, expressed the anxiety of existence in Aucklands inner city while City Of Sorrows, made over a decade later in Berlin, articulated the instability of expatriate life in post-reunification Germany.
Dreams Of Falling was made in Dunedin during 1990-91, when many of the more aspirant Flying Nun pop crowd had abandoned NZs South island. The Xpressway label had united the disaffected non-conformists left behind into a self-reliant cadre, and the LPs personnel reads like an Xpressway whos who. David Mitchell (Exploding Budgies, Goblin Mix, 3Ds, Ghost Club) and Bruce Blucher (Alpaca Brothers, Trash, Cyclops) contribute stone-powdering guitar to three tracks, Kathy Bull (Look Blue Go Purple, Cyclops) bass to two, and Alastair Galbraith (the Rip, Plagal Grind) keening violin to one more. Peter Gutteridges (The Clean, Great Unwashed, Snapper) distorted keyboard is a defining presence on two more. But Peter Jefferies (Nocturnal Projections, This Kind Of Punishment, Plagal Grind, Two Foot Flame, Cyclops) drumming, piano, guitar, and 4-track tape wizardry are by far the strongest shaping forces on Dreams Of Falling.
The album constitutes a convergence of the unvarnished Xpressway sound world and poetic lyrical expression. Bell is a poet as well as a songwriter, so words matter, and she often uses them to articulate experiences of displacement and an accompanying sense of loss. Maori legend, Australian geography, urban blight, and local catastrophe — “Floating Aground” responds to the mass shooting at nearby Aramoana — are all present in Dreams Of Falling. It is at once a deeply personal work and a nodal point, focusing the inspiration of predecessors like The Raincoats and This Heat and projecting it into a future where artists like Azalia Snail and Circuit Des Yeux pay close attention.” - Bill Meyer, May 2016.

Edition of 100. "Piano Gaucho carefully develops Bob Bellerues tonal infatuation with rendering the piano into a demonic ingress. The piano functions as an essential frame for amps, speakers, mics, pickups, pedals, laptop, and guts to negotiate and re-evaluate the fated instrument into a much more heinous sonic source.Bellerues experiments with the instrument mark time slowly against a rotating core of oscillating feedback — a cold, gradual pace that proceeds solemnly. Fascinated with the suspended tension of the piano strings, the pieces deliberate pace casts long, shadowy passages of sound — forgoing any rhythmic brutalism in favor of an anxiety that evolves within long intervals of empty space. The exorcised tones breed within these open expanses. Recalling the grim work of bass experimentalists such asStephen OMalley or blackened Scandinavian film scores — and all the images contained therein — Bellerue roots the instrumental role of the piano firmly within this space. A wicked piano music is revealed; his commitment to instruments sinister potential is total." - Nick Scavo.

"Without giving much of a clue as to process or instrumentation, theres still a bit more at stake between this duo collaboration and other PE/noise experiments of its type. There doesnt seem to be any mixer/source abuse here; were led, from the title, to believe that this is a capturing of treated piano, though it doesnt sound much like it. Excepting the possibility that the piano strings have been micd and processed, one normally doesnt get this much sustain out of a piano, even if they hold down the damper pedal. What surfaces is this noisy, yet warm and somehow harmonic buzzing drone, and if I had to say what it reminds me of, it would be the sound of a tractor with a lawn-mower attachment and vacuum bagger, cutting the grass of my parents backyard. More than any other noise recordings, this one throws off the a late summer afternoon ambiance, with the sun dying down and dinner being readied, when my dad was rounding the back corners, and was therefore further away from my bedroom window. It shares the same consistency and tonal qualities, and sounds like it could run forever. With these memories in tow, this becomes an exceptional and meaningful piece of music, though Im not sure if many people would agree with me on this, or could see the suburban POV from where Im coming." - Doug Mosurock, Still Single.

"Italian electro-acoustic composers Giuseppe Ielasi and Nicola Ratti reconvene their unique Bellows collaborative project for their new album Strand on Shelter Press. Continuously drawing a hypnotic maze with albums on Boomkat Editions (BKEDIT 012LP, 2015), Entracte, and Ielasis cult Senufo label, Bellows offers their first album on Shelter Press with Strand. Clocking right under 40 minutes, Strand is direct and disorienting. With eight tactile but distant untitled tracks, the album convokes a complex sound palette between acousmatic sound and fractal beats. Recorded in Milano at their very own Standard recording studio, Strand marks a shift in Bellows previous recording process, bringing more music gear on the table: tapes, modular synthesizers, effects, and samples. Captured live over the course of four days of improvised sessions, the album floats between ghostly melodies, musique concrète, and analog electronics. Echoing with the artwork by Amsterdam-based artist Louis Reith, whose collages made of found black-and-white images are disrupted by bold geometric constructions, the album is disorienting and fascinating, seated right in between the challenging world of electro-acoustic and a more welcoming beat-oriented territory. Strand is a fascinating body of work, growing over time and revealing more of its complexity at every listen. Artwork by Louis Reith. Reverse board-printed inners and jacket; Design by Bartolomé Sanson. Mastered by Giuseppe Ielasi; Cut at Dubplates & Mastering." - Shelter Press.

"Giuseppe Ielasi and Nicola Ratti, two musicians from Italy with an extensive solo activity, started the Bellows project together in 2006 and released their first CD in 2007. Their second release, an LP available now on PLANAM, was recorded in November 2009 in Tübingen, Germany. Quite different from the first, this new project was developed around the simple technique of cutting/destroying and amplifying vinyl records with contact microphones, creating new grooves and physical loops while capturing the sounds on a Revox tape machine with long tape loops. No further transformations or processing were applied even if a couple of effect pedals and simple sine waves were sometimes used too. The result is a sort of very atmospheric and modern-electronic music as if these sonorities were recorded at the beginning of the last century on 78rpm shellac records. The sleeve features the original artwork by Italian artist Amedeo Martegani. Edition limited to 250 copies." - Planam.

"Third act for the duo composed of Giuseppe Ielasi and Nicola Ratti after their eponymous debut on Kning Disk and the acclaimed Handcut LP on Planam-Senufo (featured on the Wire list of the best releases of 2010). CDJ, Sony Walkman, Revox A77, and Memory Man are the perfect instruments to create labyrinthine meta-pathways through quietly convective thickets of acousmatic sound, from spacious clouds of fuzzy electronics verging on dub imprints to water-stained electronics reminding of BJ Nilsen & Stilluppsteypas Space Finale and more fractal, decaying bleeps nudged and frayed with a beautifully tactile intuition. Originally released on CD by Entracte, here it comes in a deluxe LP edition with embossed lettering on the cover and printed inner sleeve. Edition of 250 copies." -Holidays.

"The son of Kentucky pig farmers, JOHN BELLOWS adolescent mind had been seriously warped by the discovery of punk and an extended acid binge. He moved to Chicago in 2001 with a Tascam home recorder and a growing collection of songs. Clean Your Clock, his debut album, was completed in 2005, and self-released in a very limited pressing of CDRs. Bellows has spent the last eight years freaking out the Chicago underground with just a guitar and his singular vision. He has ingested and regurgitated virtually every form of popular music, from his fathers beloved Carter Family to the heavy riffage of AC/DC. But the psychedelic feast of Clean Your Clock is very much his own. With a playfulness rarely heard in modern music, Bellows veers effortlessly from face-shredders like "(You Just Got) Mutherfucked" to the shocking tenderness of "Imaginary Friend." And while the album covers an astonishing amount of musical ground, Bellows is no ironic dabbler. He means every last bit of it. With the long-overdue re-release of Clean Your Clock, Bellows is ready to turn on the world at large. Rural Kentuckys first and only rock savant, Clean Your Clock is his primal first statement, an almost-lost treasure of post-millennial purging. An incredibly intense live performer, Bellows continues to evolve, his musical imagination as vast as Americas rock n roll landscape. Released by the new Moniker label, started by ROBERT MANIS, the man responsible for unearthing the Death and J.T. IV albums released by Drag City." - Moniker.

"To a small circle of psychedelic music fans, the re-discovery of native Israeli, Danny Ben- Israels sole, privately released album, Chantarish 3, a few years ago was nothing short of a revelation. Despite having been sung in his native Hebrew, there was no getting away from the blissfully fuzzed out guitars and a voice that belted out resistant words like some mad cantorial singer. Now, after 35 years, Danny Ben Israels much talked about Katmandu Sessions produced for a Western audience and recorded in Tel Aviv and Austria between globetrotting stints around Europe finally sees the light of day. The seven tracks that make up the Kathmandu Sessions are nothing short if not completely over the top -- both of its time and prophetic. Every tune is delivered with that rare combination of wisdom and wonder, sung in a joyous English that brings together Tim Buckleys melancholic operatics with the lunatic vocal escapades of Mick Farren making this easily one of the true revelations for the 21st century." - Locust.

"John Bender recorded voraciously between 1978 and 1980 at his home in Cincinnati, Ohio. Not even song titles could slow down his creative pace, as he named all the tracks after their position on the original tapes. 36A2, for example, was cassette #36 side A, piece #2. To close the DIY aesthetic circle, Bender made sleeves by hand with no two covers alike and pressed the LPs in hyper-limited editions on his own Record Sluts imprint. I Dont Remember Now/I Dont Want To Talk About It, Benders first album from 1980, is the holy grail of minimal lo-fi electronics. Layers of fractured melodies, distorted synthesizers, hollowed-out rhythms and claustrophobic vocals unfold over the 40 minutes of this lost masterpiece. Its A Rainy Day, Sunshine Girl, one of Fausts greatest songs, is perfectly deconstructed by a distinct punk-meets-experimentalist sensibility. While I Dont Remember Now is impossibly rare and the man behind the music remains shrouded in self-imposed mystery, the real surprise is that it has taken 35+ years for listeners to discover Benders warm, art-damaged immediacy. This first-time standalone reissue is recommended for fans of Pere Ubu, Brian Eno and Robert Ashley. Limited to 1,000 numbered copies. Red vinyl with hand-stamped jackets, each one unique. Liner notes by John Bender." - Superior Viaduct.

“2015 repress of the 2012 box set. John Bender is without a doubt the protagonist, if not the inventor, of the musical genre known as minimal wave. His synthesizer sounds carried elements of techno and acid a decade before the invention of techno. His voice and his somewhat sentimental, mournful lyrics made his music outstanding and extraordinary, an unprecedented mixture of elements. His three self-released LPs -- I Dont Remember Now (1980),Plaster Falling (1981), and Pop Surgery (1983) -- are must-haves for every serious collector and anyone interested in coldwave, minimal synth, and techno sounds. This seven-LP box set (with bonus 7") includes I Dont Remember Now, Plaster Falling (with selections from several tape releases known as Plaster: The Prototypes (1981)), Pop Surgery (also with selections from Plaster: The Prototypes), Packing List (1982), At the 4th St. Cage 1/83 (1983), Do the Cage (1983), and tracks from The Cassette (1986), originally released under Benders Johnny Vortex moniker.” - Vinyl-on-Demand.

"Plaster Falling was recorded at the same time as John Benders first album, I Dont Remember Now / I Dont Want To Talk About It. Released in 1981 on the artists own Record Sluts label, copies of Plaster Fallings initial pressing came hermetically sealed in plaster (and later latex). Thus, listeners had to literally break open the record to find whats hidden inside. Produced in relative isolation, Plaster Falling is a beacon of brilliance in the nascent minimal-wave sphere. Veering towards skeletal urgency, these recordings set bright analog melodies against half-whispered vocals and expand Benders electronic cryptography thru a series of lone signifiers: Station, Plaster, Women, etc. As Bender explains in the liner notes, I began to distance myself from the present and describe scenes as if in a movie -- seeking concrete, terse, juxtaposed imagery. This first-time standalone reissue is recommended for fans of Gareth Williams & Mary Curries Flaming Tunes, Minimal Man and Grouper. Pressed on translucent blue vinyl in a limited / numbered edition of 1,000 copies." - Superior Viaduct.

"Boo-Hooray has the pleasure to announce a special limited edition LP by number one Dutch entertainer Bud Benderbe!
Sharing his time between Northern Florida and Holland, Benderbe was born and raised on the rough side of Nijmegen, Holland. Benderbe moved to a Florida timeshare in 1995 where he has perfected his craft:
My goal is to record (and to perform) easy to listen to versions of really hard to listen to songs (like the Velvet Underground). A late friend (hes dead now) suggested re-recording Velvet Underground songs for the masses, and I am releasing my own album interpreting "The Velvet Underground and Nico" on the 4th of July 2013 to show my love for this great nation! "You are a natural singer with a natural ability to sing really loud," said the Scottish monitor mixer of the Counting Crows to me once. When I walked away he shouted, "and you do NOT see a soundsystem crapping out during your performance as a major problem."
I love what I do, I hope you can reserve a place in your heart to see me perform one day.
Love, Bud Benderbe" -Boo-Hooray. Limited edition LP produced to commemorate the Boo-Hooray/Milk Gallery exhibit "Enjoy The Experience - Homemade Records 1958-1992". VU inspired gimmick sleeve, (all of our copies come with extra stickers).

"Very cool compilation of unreleased BeNe GeSSeRiT tracks. The husband & wife duo of Alain Neffe & Nadine Bal counted as one of the most frivolous & quite impressive live acts around during the eighties. On top of a catchy but minimal synth basis created by B GHoLa (Alain Neffe) runs the strange, & playfull voice by BeNeDiCT G (Nadine Ball). This is minimal synth pop for the crazy ones among us, but arent we all a bit mad? Limited edition of 400 copies. Cover sleeve & insert by B GHoLa." - OnderStroom.

"Back when Dennis Tyfuss was still a goddamn baby, Alain Neffe and Naine Bal were already staining the Belgian soul with recordings released under the Bene Gesserit moniker. But here we are in 2013, and now, finally, the first U.S. vinyl issue of this material has become available for human consumption. The performing name may have been copped from one of those priestess/nun types in Frank Herberts novel, Dune, but Bene hews to none of the known priestess/nun-ic forms of sound. There are admittedly, some space-whispers, but they quickly resolve themselves into something more annoying/interesting, so they manage to feel a piece with the weird lashing-out of this LP. Because, really, the basic thrust of the album is combative, maybe overly aggressive, even. Working on the assumption that normal sucks, Bene seems determined to take this motherfucker apart at the seams. Language, electronics, standard-type music -- these are all mere tropes to be dismembered and re-sorted into some new type of standard. A standard that is oriented towards a discordant attack on standards, even when -- at moments, anyway -- it can sound as sonorous as a ride in a chapel-bound calliope. But wherever safety seems to lurk, there is a groaning troll somewhere underneath, a despot keen on wrecking easy pleasure and easy surcease. Bene create superbly disturbing music. That we have come to it so late in this country, is a typical oversight. But we beat Tyfuss. Edition of 300." -Feeding Tube.

"This LP is featuring 14 tracks from 1981-1985 with classic Minimal-Synth Sound sung in french and english with female vocals. A lot of songs are unreleased!!! BENE GESSERIT are from Belgium and are the 1st non-german act on wsdp. Comes with a silkscreened Cover to hurt your eyes." - WSDP.

"Eleven new & previously unreleased songs from BeNe GeSSeRiT, the cult Belgian minimal synth duo of Alain Neffe (various instruments including synth, beats, loops, strings…) and Nadine Bal (vocals). Alain started his Insane Music imprint back in 1981, he is a key figure of the European cassette culture and has been making some of the most creative and cross-boundary music since the early 80’s, also with other numerous projects like Pseudo Code, Human Flesh and more recently, his and Nadine’s duo with singer Anna Homler, The Chopstick Sisters. The duo’s debut LP in 1985 “A High, Happy, Perverse And Cynical Cry of Joy” was a real gem and on this new album, they go back to their roots but take advantage of newer technologies and sonic textures - every song has a life of its own. Alain’s arrangements are impeccable and unpredictable, a mad variety of instruments and moods, punchy beats, hypnotic strings, groovy organ, crazy sax lines and an inventive use of sound shaping… at some point you’ll be in the middle of… a choir of frogs??! Nadine, on the other hand, is a muse of this and the OTHER world, she manages to sound like an angel, a child, a siren and an alien, often all in the same track. Our prescription is: listen to this LP over and over for best results, you will discover and feel something new at every listen. BeNe GeSSeRiT make truly charming and personal music that’s hard to pin down: too weird to be classified as pop, but not so much to be just avantgarde, surreal & emotional, sharing the aesthetic choices of Anne Clark, Roberto Cacciapaglia, Laurie Anderson, Kraftwerk, Die Form… Glossy full color covers with insane artwork by Alain Neffe." - Ultramarine.

"Bennett uses no electronics in his creations and improvisation plays a vital role. This is music that is messy and organic and human. The list of instruments and implements that Bennett uses throughout Spoilage is mind-boggling: everything from various drums to a wheelbarrow, pizza cutter, and the narrow part of a balloon is in play. Considering this, the cacophonous symphony that ensues isnt as out-of-control as one might think. No, this is carefully-constructed from beginning to end, each choice made at the spur of a moment and pushed to extremes. Spoilage is a maximalist exhibition, extorting visceral sounds from the tools at his disposal. Bennett flips back and forth in his song-titles from the specific and mundane to something more universal. All of it, though, is where this music comes from. Personal, political, whatever - it all goes hand-in-hand. The scattered, blown-out percussive blasts could be the bombs falling just as easily as that moment you realize the last bus arrived two minutes early and you were one minute late. Quiet scrapes flicker between gulfs of silence, leaving room for philosophical contemplation or drawing up a reward sign for your stolen bike." - Experimedia.

"For those uninitiated, Han Bennink is one of the founding figures of European improvised music; longtime musical partner of Misha Mengelberg; and co-founder of the Instant Composers Pool (ICP). In short, Bennink is one of the most swinging, adventurous people on the planet. Though hes been active since the early 60s, Bennink remains energetic and irrepressible, and certainly qualifies as one of the great solo improvisers of the century -- at times madcap & go-for-broke, other times harrowing, but always a sheer delight. Recorded for Germanys Radio Bremen in 1973, in the period when Bennink was storming Europe in a trio with Peter Brotzmann and Fred Van Hove, Nerve Beats is a great recording never before issued on CD. It comes from a time when Bennink employed a gigantic setup; metal percussion, tons of extra drums, tablas, an early drum-machine, as well as non-percussive instruments like trombone, clarinet, and various impossible-to-describe objects. A 3 track live concert recorded in its entirety at the acoustically ideal Rathaus, Nerve Beats is also the only live document available of Han performing solo at this time, as his early FMP and ICP records are out of print (and decidedly sought after). Nerve Beats has been mastered from the radio session original tapes and sports new handmade cover art by Bennink (also an accomplished visual artist) and a freewheeling period portrait by outstanding photographer Pieter Boersma. Heres Han Bennink alone and at his most expansive, explosive, and wildly imaginative. Hilarious, razor sharp and not to be taken lightly." -Atavistic

"Bent Winds 1970 LP Sussex is perhaps the rarest Canadian record there is, but before dropping that massive set of heavy psych, they debuted with a small-run 45 that hit hard with a pair of considerably more straight-forward garage psych rockers. Released on the tiny local Trend label in 1969, this is a very good single that marks the transition from mid-60s garage to the heavier rock to come. New sleeve, made with full cooperation of the band." - Ugly Pop.

"A re-issue of the incredibly rare debut album by this Toronto garage-psych-hard rock outfit, originally out in 1969 on the Trend label, and generally considered by collectors to be some sort of masterpiece. This re-issue features 4 bonus tracks: one from the B side of their 1969 single, plus 3 live tracks by the 1996 version of the band. Original artwork, 180 gram vinyl. Amazing LP!! More tracks than the ACME reissue. Features The Lions which was covered by Vermonster on the Spirit Of Yma LP.

"First released on the tiny Trend label in 1969, Toronto quartet Bent Winds Sussex has, over the years, ascended to become one of the most-wanted and most-expensive psychedelic LPs worldwide. Easy to believe as the reckless fuzz workouts, murky production and a frontman with a heavy Lizard King fixation satisfies both the garage and trippier camps with equal abandon. Once The Lions, the album climax with its anthemic call to GET STONED!, has permeated your skull theres no turning back. There have been many reissues of this classic LP since its original release and all have been flawed by either lackadaisical mastering or lackluster contemporary bonus material. World Psychedelia have remedied this by producing the best-quality reissue to date, and bolstering the package with both sides of their 7" (Castles Made Of Man/Sacred Cows [single version]), a previously-unreleased 19-minute studio rehearsal from the era, band pics, and reproductions of gig flyers & 7" labels." - World Psychedelia.

"Monster heavy psych ultra-rarity from 1969 (Trend Records)—a volcanic dose of intense fuzz guitar, the perfect complement to the band’s sloppy garage ambience, and chugging beat; a strange case here, as the music on “Sussex” is often overshadowed by the album’s reputation as a one of the rarest collectible LPs in the world—a pity, as the music is as psychedelic as they come, a veritable fuzz guitar inferno! "An official reissue licensed by Marty Roth with the approval of Merv Buchanan (owner of the Trend Records). We proudly present the complete recordings made by legendary Bent Wind from 1969 till 1970. No need of any introduction on this monster rare, Canadian heavy psychedelic quartet. Do not expect to take the best sound quality from these primitive recordings but youll take for sure the most acidelic dose of the 60s music. Includes: Fully laminated cover. Two bonus tracks, one at the end of each side of the LP. Both the extra songs are from their lone 1969 single. The set comes along with a 7" EP, "The Lost Ryerson Tapes". It contains four tracks previously unreleased on vinyl, recorded in March 1970, by the original line-up.* 8-page LP-sized booklet with bio, photos, lyrics and memorabilia. *Reproduction of a Bent Wind gig poster. 180gr vinyl as usual. PVC protective outer-sleeve." -Anazitisi. One of the greats.. Highly Recommended!

"The Holy Grail of Canadian rock, this raw, murky slab of heavy psych was released by local indie label Trend in autumn 1970 and immediately sank without a trace. Over the decades, however, obsessive fans and collectors of the eras unsung greats gradually came to recognize the obscure Toronto bands genius, the now impossible-to-find original LP eventually trading hands for $5000+ plus in the rare vinyl market. After years of bootlegs, compact discs and pricey European pressings, this mythical Canadian LP is finally available at home in its intended format for the first time in 44 years." -Ugly Pop.

"A full two decades after releasing their 1969 monster acid-psych album "Sussex," this Toronto band resurfaced with original guitarist Marty Roth and new members to record this much more diverse album that mixed rock, pop, blues, and even a bit of country. Self- released by the band, these copies are from the original 1989 pressing, in a numbered limited edition."

"Algorithmic language detritus. Tape devolution. Queasy string work and pescatarian poetry. Vitrine closes out its Fall batch with the first audio publication from Philadelphia-based writer and artist Mel Bentley. This follows such strong showings as 2013’s & parts, released as a chapbook through Damask Press. Red Green Blue collects a wide berth of live performances and stray discomfort. Bentley’s writing evokes Black Tarantula-era Kathy Acker bisected by Ron Silliman and the panoply of Nathaniel Mackay. Aggregate Internet waste and epistolary diversion. Red Green Blue’s melange of text, field recordings, free improv intersections and tape manipulation harkens back to the openness of cassette magazines such as Underwhich Audiographics or Edition S Press. The Dundee Telegrams by the Paxton Group and Paula Claire is a somewhat probable touchstone, though there is a palpable vitality to these sonic extensions unfettered by reference or deference. Recitation ranges from the languid to the deadpan to a heated stumble of apprehension. There’s a freeness to these live recordings, as Bentley presents a variety of perspectives to approach the writing. The latent air within the performance space, the shuffle and cough of the audience and a torrent of rain fall on Baltimore Avenue are all given their opportunity alongside the character of Bentley’s formidable poetry. “Why can’t I dig my way out of a personality.” Limited to 100 copies." - Vitrine.

"Prisma Records is proud to present the first release dedicated to the music by the late Norwegian composer and electronic music pioneer, Sigurd Berge (1929-2002). This release showcases some of Berges earliest experiments with tape-machines and early synthesizers. The music is taken from three reels found in the Henie Onstad Art Centre music archives in 2009. The reason why these tapes were located at the art center is probably because Berge worked for several years at the NSEM - Norwegian Studio for Electronic Music, located at the art center. Berge also was a central part of the electronic music concert series Elektrofoni which took place at the center from 1968 until 1983. On the first tape were the unreleased pieces "Preludium," "Ritual" and "Sørgemusikk" and the pieces "Erupsjon" and "Eg Beisla Min Støvel." On a different tape, was the musique concrète piece "Delta," which Berge also used in collaboration with the avant-garde jazz group Svein Finnerud in 1970. The second part of this release is dedicated to one of Norways first multimedia art installations entitled "BLIKK." The work was commissioned for the Henie Onstad Art Centre in 1970 and created by the artists Irma Salo Jæger, Jan Erik Vold and Sigurd Berge. The installation consisted of Jægers kinetic sculptures, Volds abstract poetry and Berges electronic music, all blended together with one of Norways first computer-generated laser-light shows. The multimedia piece was so complicated to produce that the engineers Halvor Heier, Birger Komedal and Harald Schiøtz were hired on for technical assistance. The pioneering work "BLIKK" was exhibited at the Henie Onstad Art Centre between April-May in 1970. Prisma Records is proud to release one of Norways most acclaimed experimental composers and electronic music pioneers for the first time on a complete CD release." -Prisma.

"The sound of Bergljot is in constant flux. Bergljot began as an acoustic jazz trio in 2008, quickly moving through free-jazz to acoustic improvised music and is now in the middle of a heavy electric period with synthesizers, electronics and electric bass. What hasnt changed is a strict and minimalistic approach of slow development with special focus on richness of sound and energetic, clear execution. Bergljot has performed widely in Europe, at festivals such as Jazz Fest Brno, Natt Jazz Bergen, Koktebel Jazz Festival and Jazzinec Trutnov, as well as venues in France, Sweden, Poland, Ukraine, Austria, Germany, Slovakia, Norway and Czech Republic. Vojtech Prochazka (piano, synths and electronics), Adrian Myhr (double bass), Tore Sandbakken (drums and percussion)." - Sofa.

"Released as a private pressing on the aptly named Winter Solstice label, Bermuda Triangle who hail from Long Island New York released this gem in the height of Punk...1977. A combination of The Farm Band and Bobby Brown (the solo act from early 1970s California), Wendy Carlos meets Joan Baez the band were made up of a female singer/bassist/female drummer/violinist and a guy who sings and plays the electronic auto harp/organ and piano. The sound is totally lost in time and transports you back to the carefree days of the early seventies and is extremely trippy. You have to check out the wah wah auto harp, the weird percussion and bass, a great listen almost pre-dates the current folktronica scene. This wild album has to be heard and is quite superb from folk to reels to country all bathed in this misty auto harped glory." - Radioactive.

"Heres how Acid Archives describes this fantastic album: Truly bizarre folk-psych album thats more enjoyable than a lot of "better" records. Two of the first three songs are weird loungy covers of Nights In White Satin and Aerosmiths Dream On, neither of which sound like anything else on the album. For surprise value alone, Dream On works the better of the two, since the Moody Blues tune was dangerously close to lounge to begin with. Most of the other songs are full of fiddle-style violin and autoharp, the latter of which is often treated with phasing, flanging and other effects... Spastic, cymbal-heavy drumming adds another layer of intrigue... Both the male and female vocals are agreeable and work well in the context of these strange songs. The closing Wind (the Circus Maximus song) is another total departure, again not resembling anything else on the album, and sounding uncannily like a Linda Perhacs outtake. This album is kind of a shock on first listen, because at least to these jaded ears its not often I discover something so original and bizarre.⿝ This is truly a one of a kind album⿿you have to listen it to believe it!!! Typically deluxe presentation by Anazaitisi of an ultra-rare (and ultra-psychedelic) album." - Anazitisi.

"The Horse Stories is the soundtrack to Going Places Sitting Down, a film by Hiraki Sawa, commissioned by the Hayward Gallery and Bloomberg London, for Waterloo Sunset, the Dan Graham Pavilion at the Hayward in November 2004. It is a piece about make-believe journeys to far-away places (at the tips of your fingers, between the cracks in the floor at your feet, on the edge and behind the door, right here where you are, close-by...) For the soundtrack Dale used sounds belonging to the country house and garden in which Sawa filmed - water running in the upstairs bathroom; rain water dripping on the stones outside the kitchen door, sparkling water in a glass on the table, the wind-chime and the clock and the record player... And then the sounds of music boxes being played - one elaborate antique music-box with bells the shape of bees and a miniature hollow drum, and other simple music boxes, playing only one tune each, tiny naked metallic combs and drums and handles. At the core of all Dale Bernings sound work lies a deep interest in ideas of aliveness, of space and the awareness of time passing, of breathing and being still and of listening. And of the possibility of grace. 180g hand numbered limited edition." -Bo Weavil

"After numerous releases with the artist Jonathan Meese, No Time Left is finally the first solo album by the artist and musician Tim Berresheim (Cologne). Besides last years 7 on Meeuw Muzak it is also the first release that doesnt appear on his own New Amerika imprint, but on Eventuell - a label which specializes in artists records and produced a collaboration between Raymond Pettibon, Otomo Yoshihide and Blank in 2005. No Time Left is an impressive proof of Berresheims musical skills, both as multi-instrumentalist, programmer and composer. The four tracks on this LP are carefully constructed mixtures of wonderful guitar and basslines, atmospheric synth-layers, dubby electronic music and unorthodox samples. Although very eclectic in its wide range of sounds and elements, the recordings are characterized by a coherent mood. If you can imagine a hybrid of Nurse With Wound, early Residents and Tom Recchion, youre probably quite near to what can be heard on this great record. The four instrumentals correspond with four large, modified black-and-white photographs by Tim Berresheim which are fully reproduced on four sides of the stunning extra-large gatefold-cover in the form of a triptych. An impressive artists record which comes in a limited edition of 400 copies." - Eventuell.

"A good three years after his first solo debut No Time Left on Eventuell, Tim Berresheim presents Studies in Future Blues. The new album shows a different take on experimental music. While No Time Left gave a proof of his skills as a multi-instrumentalist, Studies in Future Blues is pure computer music. The title is programmatic because here Berresheim presents different takes on blues rock, from plunderphonic tracks in the tradition of John Oswald via melancholic treatments a la Caretaker, to abstract micro-assemblies that remind of early computer music like Horacio Vaggione, for example. The six tracks, all entitled Wicked Son, are highly entertaining demonstrations of his craftsmanship. Cover art by Tim Berresheim, done in conjunction with the correspondent exhibition earlier this year at the gallery Hammelehle und Ahrens in Cologne." -Eventuell

Tim Berresheim and Jonathan Meese are German contemporary artists well-established within the international art scene. In 2002, Berresheim founded the New Amerika label as an outlet through which to release collaborative recordings (often between he and Meese), along with solo recordings.

(2004 release, as Trepanation) "Bitte Hinten Bezahlen" is Tim Berresheim and Jonathan Meeses most scary and complex work to date. Dense layers of musique concrete, electronic and improvised music are responsible for a fascinating record which almost sounds like a marriage between Mike Kelleys Destroy All Monsters and Luc Ferrari. Includes video-clip Colonel Iverson." - A-Musik.

Tim Berresheim and Jonathan Meese are German contemporary artists well-established within the international art scene. In 2002, Berresheim founded the New Amerika label as an outlet through which to release collaborative recordings (often between he and Meese), along with solo recordings.

(2004 release, as Trepanation) "trepanation" is tim berresheims and jonathan meeses most scary and complex work to date. dense layers of musique concrete, electronic and improvied music are responsible for a fascinating record which almost sounds like a marriage betwenn mike kelleys destroy all monsters and luc ferrari. second edition in heavy, red vinyl. limited edition of 500 copies." - A-Musik.

(2002 release, as Die Ahabs) "the first longplayer by tim berresheim and jonathan meese, originally released in late 2002. a twisted mix of post-punk in the tradition of the skin graft-/homestead-releases, krautrock and dubby electronica. the lyrics of art-star jonathan meese are dedicated to the animals. already a classic artist-record, file next to the releases of dieter roth, albert oehlen, mike kelley and kai althoff. " - A-Musik.

"The label with the strongest tradition in releasing Christmas 7"s is no doubt Meeuw Muzak. Not because he likes Christmas very much, but he likes to sit at home and play his releases during that day. Die Christmaskameraden are Jonathan Meese and Tim Berresheim, both well-known visual artists from Germany. Meese has a wide fascination for anything from Wagner to Stalin, and Ezra Pound to Rasputin. On this 7" they play synth, glockenspiel and sing about father christmas and even have a sort of disco rhythm on the second side, which could be seen as the extended dance remix. We are father Christmas, you are father Christmas they sing. After the RLW and Tietchens, this is certainly much more weirder and way-out then those and is a most curious record indeed. Play this for your family on boxing day and disapproval will be your share." - Vital Weekly.

(2004 release, as Jonathan + Tim) "dont call us piggy" by jonathan + tim was released for the exhibition "dont call us piggy call us cum" by artists jonathan meese and tim berresheim at the gallery hammelehle & ahrens (cologne) in summer 2004. this longplay is a pure dancefloor-smasher, combining the best elements of disco, euro-dance, rave and techno with meeses intensive lyrics - like the dark side of justus köhncke." - A-Musik.

Tim Berresheim and Jonathan Meese are German contemporary artists well-established within the international art scene. In 2002, Berresheim founded the New Amerika label as an outlet through which to release collaborative recordings (often between he and Meese), along with solo recordings.

(2004 release, as Haircar) "Second 7" in a series of 4. Pink vinyl, limited to 400 copies. A very own definition of pop." - A-Musik.

Tim Berresheim and Jonathan Meese are German contemporary artists well-established within the international art scene. In 2002, Berresheim founded the New Amerika label as an outlet through which to release collaborative recordings (often between he and Meese), along with solo recordings.

(2004 release, as Militaria) "Third 7" in a series of 4. Green vinyl, limited to 400 copies. Reflection on Militaria." - A-Musik.

Tim Berresheim and Jonathan Meese are German contemporary artists well-established within the international art scene. In 2002, Berresheim founded the New Amerika label as an outlet through which to release collaborative recordings (often between he and Meese), along with solo recordings.

(2003 release, as Pignick) "Artist record by Tim Berresheim and Jonathan Meese. First 7" in a series of 4. Yellow vinyl. Second edition, with a singing cat." - A-Musik.

Tim Berresheim and Jonathan Meese are German contemporary artists well-established within the international art scene. In 2002, Berresheim founded the New Amerika label as an outlet through which to release collaborative recordings (often between he and Meese), along with solo recordings.

(2005 release, as Persona Non Grata) "Persona Grata" is another, new moniker of artists/musicians Tim Berresheim (Cologne) and Jonathan Meese (Berlin), introduced on their first CD-EP on Berresheims New Amerika imprint. These recordings mark a new step in their collaborative efforts, for the first time they are completely improvised. Meeses satanic version of Gospel singing is brilliantly supported by the tribal dark Wall of Voodoo produced by Berresheim. Imagine a four-track version of Grateful Dead doing the soundtrack for a Kenneth Anger movie, for example." - A-Musik.

Tim Berresheim and Jonathan Meese are German contemporary artists well-established within the international art scene. In 2002, Berresheim founded the New Amerika label as an outlet through which to release collaborative recordings (often between he and Meese), along with solo recordings.

(2003 release, as Bergkappelle Mount Everest) "("mountainchapel mount everest") is the second project by artists tim berresheim and jonathan meese. this time meeses intriguing lyrics abduct the listener to the world of the mountains in that almost radioplay-like piece of music. musically, "swing your thing" is a stunning mix of new wave in the spirit of early atatak and zick zack releases, exotic sci-fi soundtracks and raw techno in the vein of electronicat." - A-Musik.

Tim Berresheim and Jonathan Meese are German contemporary artists well-established within the international art scene. In 2002, Berresheim founded the New Amerika label as an outlet through which to release collaborative recordings (often between he and Meese), along with solo recordings.

"Superdisque is the first album from the French trio formed by David Fenech (electric guitar) with Jac Berrocal (trumpet) and Ghédalia Tazartès (vocals). Somewhere beyond the borders of rock, jazz, punk and sound poetry -- the vocals seem to come from another planet, with lyrics in an improvised language. The winds are blown from Tibetan human bones and conch seashells. Guitars sound like rubber and steel. Expect the unexpected. Special guest Zap Pascal (accordion) appears on one track. David Fenech is a French musician living in Paris. He has played and recorded with musicians such as Felix Kubin, Jad Fair, Tom Cora, Rhys Chatham, Bérangère Maximin, James Plotkin, Shugo Tokumaru, Ergo Phizmiz, and many others. His baroque style has been described as "a kind of punk musique concrète." He is the origin of the Superdisque recording project, using his own home studio as an instrument. Jac Berrocal is a cult trumpet player living in Paris. He has played with various musicians including Pascal Comelade, Jaki Liebezeit (Can), Nurse With Wound, Sunny Murray, Jacques Thollot, James Chance, Pierre Bastien, Aki Onda, Lol Coxhill, Catalogue, Christophe, etc. Hes also known for his famous Rock And Roll Station, recorded with Vince Taylor. Ghédalia Tazartès is an orchestra and a pop group in one person. His voice shifts constantly from child to diva, from African sorcerer to Tibetan monk. His hypnotic, disturbing polyphonies draw us into an emotional universe. Its punk, sound poetry, folklore and electroacoustics rolled into one. Ghédalia has been recording music in his Parisian home studio for more than 40 years. He has also worked for theater, dance and more recently for cinema. Both Jac Berrocal and Ghédalia Tazartès appear on the famous Nurse With Wound list." -Sub Rosa.

"Jac Berrocal has not released an album for 20 years. The legendary French trumpeter is back with his special atmosphere and feeling and lots of guests, too. Jacques "Jac" Berrocal (born October 22, 1946, Saint-Jean dAngély) is a French trumpeter, singer and composer. He has been active since the 1970s in the independent and avant-garde music scene (he recorded/played with Steven Stapleton/Nurse With Wound and collaborated with Sunny Murray, Pascal Comelade, MKB (F. J. Ossang), James Chance, Alan Shorter, Bernard Vitet, Lol Coxhill, Michel Portal, Lizzy Mercier Descloux). He has released a few important albums, mainly on his own label dAvantage. He also founded and performed in the group Catalogue. Berrocal has also appeared in several films. In 2011, Sub Rosa released a unique collaboration between him, Ghedalia Tazartès and David Fenech (SR 321CD/LP)." -Sub Rosa.

"Jac Berrocal, David Fenech, and Vincent Epplay return with their first record since 2015s Antigravity (BLACKEST 011CD/LP). The title track is a louche but volatile art-rock panther-stalk... a cracked jazz ode on street hassle, pitched somewhere between Vince Taylor-in-exile and PiLs Metal Box (1979)... Berrocal on vocals, a slurring stream-of-consciousness that becomes a yowl of despair; drums loose and dub-delayed; Fenechs jagged guitar phrasing, and Epplays electronics set to flay. "Ice Exposure" situates Befs mournful, muted trumpet in the eerie deep-freeze ambience that characterized Antigravity, and "Alienor En Aout" coaxes a gloomy poetry from affectless cold war radio broadcasts." - Blackest Ever Black.

“Stunning collaboration between four entities who all left an indelible track in various spheres and in different eras, such as Jac berrocal, a mythical figure, improvisator in his music and his encounters, a visionary poet and avant garde trumpeter who went against the grain in jazz and punk, amongst others, and his associate Jack Belsen, a virtuoso with the machines, guitarist and into a lot of other things, composer of soundtracks for films, who founded with F.J. Ossang in 1980 the Messagero Killer Boy of which the noisen roll sonorities essentially structure themselves around the poetic words of Ossang.
Also the singer and actress Marie France, rock, punk, diva, cabaret muse, fond of unpredictable and stunning collaborations, just as her own personality.
« Je vous veux » and « Marie-Antoinette is not dead ou dans quelle position je vous laisse » are the titles of the two tracks of this historic 7”, historic by this never seen before collaboration initiated by the label rotorelief, and by the presence of the author of the letter and the poem put in music, the Queen of France Marie-Antoinette. She is the fourth protagonist of the project.
Out of time and out of eras, this concept is definitely away from a passeist royalism or a vain nostalgy. It only wants to put forward these personages who, strangely, have common particularities: innovators, avant gardists, passionate about liberty and pleasures.
« Je vous veux » on side A is a cosmic and sensual ballad, a perfect compromise between the lascivious and velvety words of Marie France and Belsens powerful solemn machines and jumbles of guitars mingled with the whistlings of Berrocals flute.
« Marie-Antoinette is not dead ou dans quelle position je vous laisse » plunges us into the night, at 4.30 in the morning, the time when Marie-Antoinette writes her last letter. Heady machines, drums, trumpets and sizzlings lead the countdown in a western-tinted suspense and an atmosphere a la Lynch, punctuated with the sentences of Marie France who reads Marie-Antoinette, proud to the end, to the sharp and brutal final blade, giving us shudders.
A sharp and historic 7".” - Rotorelief.

"Released in 1979 in a limited edition on his own dAvantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the dAvantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on Tango (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on Incontrolablslaooo and Faits Divers, moving from a 60-a-day smokers cough to a terrifying sequence of gargles and vomits. The grungy free rock of No More Dirty Bla Blaps, the Portsmouth Sinfonia-like spoof Dixieland of Rideau, the distressing punk of Signe Particulier and all manner of fields recordings and cut-ups in Berrocals Artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 Situationist perspective. With the same creative attitude documented through the mythic dAvantage label (1976-1979) Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition.
Catalogue represents the most experimental and complex of Berrocals records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jaques Berrocal and discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patak and John Fothergill on NWWs second album, but thats another story." - Alga Marghen.

2009 repress, originally released in 2001. "Jacques Berrocal has been very active since the beginning of the 1970s. No one in France could mix jazz, improvisation, rocknroll, punk, no wave, spoken words and industrial music like him. He also had a central position in the creation of dAvantage, a collective record label that issued some of the most particular sessions of the mid-late Seventies. At the same time he was working on never ending sessions for records that were never issued. Jac and his band were the Apostles of the non-urgency, enjoying recording in unusual situations, with no rules, improvising on undefined structures or using non-musical material mixed with ethnic instrumental solos. In 1976 dAvantage issued a wonderful record LP titled Parallèles featuring, among the others, Bernard Vitet, Roger Ferlet, Pierre Bastien, Michel Potage, Daniel Deshays, with the intervention of Vince Taylor, the dark diamond of rocknroll who inspired David Bowies Ziggy Stardust. Just a couple of years later Berrocal collaborated with Steven Stapleton to create the first Nurse with Would record LP. Parallèles features very different styles; acoustic solo and duo for trombone and cornet as well as a large ensemble 25 minutes long piece dedicated to the Futurist Russolo (again, two years later, Mr.Stapleton dedicated his first NWW record to the same Italian artist). Also to mention are Post-Card, recorded in a Pigsty in 1976, and the legendary Rocknroll Station, a mini-concert for voice (Vince Taylor), double bass (Roger Ferlet) and bicycle (Jac Berrocal). The remastered CD also includes five previously unreleased tracks that were actually left out of the original record: Villa Povera Naturale (1972) is a short piece for pocket trumpet and various concrete elements; Occupè by Michel Potage is an excerpt taken from an LP that dAvantage never issued; Shorten and Lisylis Pavillon are the first experiments using electronics and Cryptea IV, taken from the sessions of the early Futura LP. Thirty years later Jacques Berrocal is still there, where nothing is waiting for him, totally outside the rules, out of fashion thus indémodable. A digipack CD edition including a folded insert with very nice original photos and scores." -Alga Marghen.

"Legendary trumpeter Jac Berrocal joins two fellow travelers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy, and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock n roll. The trios first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece "Rock n Roll Station," which first appeared on his 77 LP Parallèles (TES 037CD) with chain-wielding, leather-clad wildman of British rock n roll Vince Taylor singing the lead, and Berrocal on micd up bicycle; here, the Frenchman takes the vocal reins. A barely recognizable interpretation of Talking Heads "The Overload" pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum-machine rhythms, humid electronics, and jagged guitar phrasing, while "Where Flamingos Fly" reroutes the Gil Evans Orchestras classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trios reading of "Kinder Lieder," the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walkers Climate of Hunter. Originals include the agitated Iberian psychedelia of "Spain," and "Panic in Bali," which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered "Lonely Woman" quotations. "Solaris" is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocals trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay -- like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humor pervading; see the anarchic cross-hatch of "Ife Layo," or the CD-only track "Lessai des Suintes ou le bal des Futaies," Berrocals poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow, and the ReR axis will find much to chew on. Play, as we know, is serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, lets go." - Blackest Ever Black.

"Legendary trumpeter Jac Berrocal joins two fellow travelers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy, and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock n roll. The trios first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece "Rock n Roll Station," which first appeared on his 77 LP Parallèles (TES 037CD) with chain-wielding, leather-clad wildman of British rock n roll Vince Taylor singing the lead, and Berrocal on micd up bicycle; here, the Frenchman takes the vocal reins. A barely recognizable interpretation of Talking Heads "The Overload" pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum-machine rhythms, humid electronics, and jagged guitar phrasing, while "Where Flamingos Fly" reroutes the Gil Evans Orchestras classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trios reading of "Kinder Lieder," the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walkers Climate of Hunter. Originals include the agitated Iberian psychedelia of "Spain," and "Panic in Bali," which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered "Lonely Woman" quotations. "Solaris" is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocals trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay -- like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humor pervading; see the anarchic cross-hatch of "Ife Layo," or the CD-only track "Lessai des Suintes ou le bal des Futaies," Berrocals poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow, and the ReR axis will find much to chew on. Play, as we know, is serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, lets go. Includes MP3/FLAC download code." - Blackest Ever Black.

Limited edition of 444. Includes hand-numbered certificate. "A vinyl reissue of Ron Berrys Where Dark Forces Meet, originally released on cassette in 1982. Ron became interested in electronics as a child in the mid-fifties, making radios and other electronic projects. He built my first synthesizer from a magazine article, but the performance wasnt that great so he started to modify it. Before too long hed built a modular system of his own design. Microprocessor boards became affordable at the end of the seventies. The outcome of the experiments was a fully programmable sequencer and an electronic percussion unit. A friend of Rons, Phil Clogg, became interested in it. The result of this was to form an electronic duo called Out of Control around 1979. It was based around two modular synthesizers, guitar, vocals and a further synthesizer and electronic percussion controlled by my unique microprocessor based sequencer. The microprocessor generated all the basic rhythmic backing control patterns for the synthesizers and electronic percussion during the whole of the gig. Phil played guitar, sang vocals plus playing a pedal board for some extra bass depth. They were one of the first bands in the UK to employ a computer for live music creation and generation. For them this was so much better than using a fixed backing on a tape recorder as some were doing. The duo was a huge turning point for Ron. After Out of Control, Ron produced his first electronic music album Where Dark Forces Meet, released on cassette on the independent Flowmotion. The album is basically a 4 track multi-track recording, with extra atmospheres and effects flown in using a couple of additional two track tape recorders. The mixing desk at the time was six channels, plus the mixers on Rons synthesizers. From the success of this, he really wanted to develop his own solo electronic rock ambient music live, so he concentrated on expanding the sequencer to produce polyphonic control patterns and added a Godwin string synth. To date, Ron has produced fourteen albums of solo electronic music, ranging from rock to more ambient experimental styles. Ron has continued to experiment and build stuff when he could. Since then analog has largely given way to digital. He has embraced and exploited much of this technology along the way but in some respects he remained "old school" as a lot of todays highly compressed digital earplug music is not exactly to his taste." - Vinyl-On-Demand.

"Bertins short digital miniatures have an impressionistic approach and contain a strong feeling for melody, story and time. Bertin build up these four pieces layer by layer, using advanced computing and improvised voice, guitar and editing. Because of its playful nature, you could easily imagine this 7" being the soundtrack for a childrens book. Bertin has been known to work under the alias (none) and performes live with prank aggressor, producing repetitive static." - Ole.

"After nearly 40 years of silence, Harry Bertoias Sonambient label has been resurrected in order to release the best of Bertoias unheard recordings from his recently preserved archive of 1/4" tapes. "Clear Sounds" b/w "Perfetta" was cut straight from the original reels and is a true analog pressing. These two pieces were selected for their minimal, meditative and lush harmonic qualities; lacking in the abundance of dynamics and contrasts found on the original Sonambient records, these pieces show another approach to performance. Slow washes of shimmering metallic sculpture rustle thickly like the leaves of a white birch or tall grass in the summer sun. Gorgeous harmonics hover overhead, making audible measurements of the length and purity of Bertoias metal rod sculptures. Both Harry Bertoia and his brother Oreste composed extensively in the Sonambient barn deep in the woods of rural Pennsylvania where Harry kept over 100 Sonambient sculptures and gongs. The first Sonambient LP Bellissima Bellissima Bellissima / Nova, released in 1970, contains a Harry Bertoia composition on side A and an Oreste Bertoia composition on side B. As an homage to the original Sonambient LP, "Clear Sounds" is a Harry Bertoia piece from June 30, 1973 and "Perfetta" is an Oreste Bertoia piece from June 28, 1971. Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergomonic chairs were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculpturess sounds during his annual visits to his brothers home in rural Pennsylvania. Over nearly twenty years, adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, constantly improving his methods while also honing his performance skills." - Sonambient.

"After nearly 40 years of silence, Harry Bertoias Sonambient label has been resurrected in order to release the best of Bertoias unheard recordings from his recently preserved archive of 1/4" tapes. "Clear Sounds" b/w "Perfetta" was cut straight from the original reels and is a true analog pressing. These two pieces were selected for their minimal, meditative and lush harmonic qualities; lacking in the abundance of dynamics and contrasts found on the original Sonambient records, these pieces show another approach to performance. Slow washes of shimmering metallic sculpture rustle thickly like the leaves of a white birch or tall grass in the summer sun. Gorgeous harmonics hover overhead, making audible measurements of the length and purity of Bertoias metal rod sculptures. Both Harry Bertoia and his brother Oreste composed extensively in the Sonambient barn deep in the woods of rural Pennsylvania where Harry kept over 100 Sonambient sculptures and gongs. The first Sonambient LP Bellissima Bellissima Bellissima / Nova, released in 1970, contains a Harry Bertoia composition on side A and an Oreste Bertoia composition on side B. As an homage to the original Sonambient LP, "Clear Sounds" is a Harry Bertoia piece from June 30, 1973 and "Perfetta" is an Oreste Bertoia piece from June 28, 1971. Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergomonic chairs were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculpturess sounds during his annual visits to his brothers home in rural Pennsylvania. Over nearly twenty years, adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, constantly improving his methods while also honing his performance skills." -Sonambient.

“Harry Bertoias Complete Sonambient Collection features all 11 of Bertoias original records newly restored from their master tapes and housed in replica jackets. A heavy duty box, printed with metallic inks, holds the 11 discs as well as a 100-page book containing a lengthy historical essay, an interview with Harry Bertoia from the Smithsonian Archives of American Art, exclusive Sonambient-era material from the Bertoia archive, modern and archival photos of the Bertoia barn, and reflections on Bertoia from David Sefton, Tom Welsh, David Harrington (Kronos Quartet), and all three of Bertoias children. The Complete Sonambient Collection celebrates 100 years of Harry Bertoia in 2015, the centennial of his birth. In the late 1950s, Harry Bertoia (1915-1978), already a renowned American sculptor, began creating long-form, improvised pieces of music utilizing pure acoustic tones evoked from his sound sculptures. Around this time Bertoia came up with the term "Sonambient" to describe the music and environment created by his tonal sculptures and their lush harmonic overtones. In a renovated barn on his property deep in the Pennsylvania woods, Bertoia curated a harmonious selection of his sculptures and gongs, often recording his frequent, intuitive sound experiments using four overhead microphones and a ¼" tape recorder. Bertoia dedicated the last 20 years of his life to his Sonambient work and in 1970 he released the first Sonambient LP. In 1978, in the final months of his life, he selected recordings from his archive and produced ten more Sonambient records. He would not live long enough to see or hear these records himself. Bertoia died in 1978, at age 63, and was buried beneath a giant gong behind his Sonambient barn. Bertoias recordings are as much a celebration of sustained tones, slow decay, healing vibrations, and shimmering harmonics as Indian classical music, singing bowls, La Monte Young, or Benjamin Franklins glass armonica. Through these rich harmonics, pulsing tones, and pure gongs Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone -- a point he made himself many times in interview. His single greatest piece of art is the totality of his life, which is nearly impossible to measure but easy to feel. Important Records hopes that somehow this box set evokes some of the same sacred, personal feeling that one has in Bertoias barn.” - Important. "I dont hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning." - Harry Bertoia, 1976.

""Ambient and strange atmosphere" from the late sound sculptor. This reissues two of this American geniuss many self-released LPs as a great public service. His "sounding sculptures" consist of "ranks of tall slender rods, placed either upright or at special slants in rectangular formations. These metallic faces are not rigid, but give when stroked -- at the same time releasing lingering musical chords of a weirdly haunting nature."" - FE.

"Arpe Eolie is the first ever vinyl release of the works by Italian maestro Mario Bertoncini, relentless experimental composer, philosopher, artist and builder of sounds. The LP presents a selection of his compositions for Aeolian constructions: in the early 70s he started to produce sound aggregates, true "sound sculptures" based on the Aeolian sound principle. Amongst his more spectacular installations were "Vele", a massive Aeolian harp (more than seven meters high); "Venti" (winds), for 20 Aeolian sound generators and 40 performers; and "Chanson Pour Instrument À Vent", an assemblage for Aeolian harps, Aeolian gongs, and one performer. By their very nature these sound objects ("sound sculptures" that liberate the concept of sound form from time development) convey a sense of natural sounds beyond the grasp of composition and musician. Bertoncinis self-built harps and gongs are excited by blows of compressed air, or by the composers own breath, resulting in a musical blueprint that takes minimalist drone to a massive scale: the music unleashes itself. Theres no sense of a composers hand present. If at superficial levels they may sound like electronic music (long drones and swooshes of otherworldly sounds), at a close listening they reveal the intensity of a pure sound of air, far removed from both any artificial or measurable principle as well as from any casual or chance method of composition. Deluxe silver cover with silver foil design. Custom inner sleeve and four-page booklet in English and Italian. Edition of 400." - Die Schachtel.

"Deluxe silver CD box, silver-foil design complete with a 31-page booklet in Italian and English. English/Italian 196-pages book, 26 black and white photos, matte white cardboard cover with flaps, silver design. "One of the most adventurous composers and performers of the Italian avant garde scene, member of the Gruppo di Improvvisazione Nuova Consonanza, great performer of the music of John Cage, Bertoncini started in the early 70s to design and build incredibly complex and visually fascinating sound sculptures based on the aeolian sound principle. Amongst his more spectacular installations there were Vele, a massive Aeolian harp (more than 7 meters high); Venti (winds), for 20 Aeolian sound generators and 40 performers; and Chanson pour Instruments à Vent, an assemblage for Aeolian harps, Aeolian gongs, and one performer. His self-built harps and gongs are excited by blows of compressed air, or by the composers own breath, and the resulting sound is amplified through contact microphones. If at superficial levels they may sound like electronic music (long drones and swooshes of otherwordly sounds), at a close listening they reveal the intensity of a the pure and analogic sound of air, far removed from both any artificial or measurable principle as well as from any casual or chance method of composition, In fact, all the pieces are carefully composed and even notated. The CD presents the complete series of his works for Aeolian harps, from 1973 to more recent days. The accompanying 196-page book, in both English and Italian and rich with photos, is a rather profound dissertation on the Aeolian harps, their generation and meaning, as well as on experimental sound and avant-garde music in general. Written by the composer in the form of a Platonic dialog (between an old and rather bitter master and his young enthusiastic pupil), the book not only conveys a wealth of information on its subject matter, but it also renders perfectly the voice full of wit of one of the most personal and uncompromising composers of the present times." - Die Schachtel

“Lea Bertuccis debut album Resonance Shapes LP from 2013 is an overlooked gem that caused a small stir at the IDDB office. On this much more stripped down affair the New York-based artist changed her bass clarinet for an old alto sax and the two cuts delivered here are somewhat different, but just as intimate and perplexing. 10 mesmerizing minutes that owes just as much to free jazz skronk as it does to contemporary sound art.
Mastered by Viktor Ottosson. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 33 1/3rpm.” - I Dischi Del Barone.

2016 repress. “This French psychedelic masterpiece by Philippe Besombes and Jean-Louis Rizet, originally released by Pôle Records in 1975, is a stunning piece of work created with synths of various kinds (VCS 3 AKS, Synthorchestra Farfisa, Mellotron 400, etc.), occasionally backed up by drums and other sounds. Lauded by artists like Julian Cope and Etienne Jaumet (Zombie Zombie) and diggers around the world, Pôle takes the listener on a trip like the gods of psychedelic music intended, from IRCAMs laboratories to German krautrock; from Faust to Cluster & Eno. The original double LP release is reissued here as a single LP (including download code for original album track "Synthi Soit-Il," absent from this LP). Pôle is ideal for a thorough shamanic journey without any new age namby-pamby. After previewing the opening track ("Haute Pression"), listeners might choose to enjoy the album while tripping, rediscovering that dark and fuzzy side of unknown 70s French avant-garde music.” - Gonzai.

"When the bunch of filmmakers known as The Pattern Group (Roland Moreau, Georges Perdriaud and Jean Talansier) did Libra, their second movie, in 1973 they thought it would be a good idea to use bits from Pink Floyds Ummagumma and Atom Heart Mother to create its soundtrack. The movie, a 90-minute film with no dialogue, depicts the story of four youngsters living in communion with nature, an idyllic life that is drastically changed when a U.S. satellite crashes in the area and attracts the attention of journalists and TV crews that come to destroy the peace of the place. Obviously, the Pink Floyd bits had been used without permission, and The Pattern Group saw they needed an original soundtrack if they wanted the film released without legal trouble. They approached Jean-Michel Jarre, who declined the invitation to create the new soundtrack, but suggested instead Philippe Besombes. Besombes was a sound explorer who walked similar paths as other avant gardist young musicians from his generation such as Richard Pinhas (Heldon), Paul Putti (Pôle), Jean Louis Rizet or Jean-Michel Jarre himself (way before he became the famed wizard of commercial synth music as we know him today). Besombes was requested to produce a soundtrack in the style of those Pink Floyd tracks used. However he came up with that and more. Always aiming to find new ways of musical expression, he produced music that fitted perfectly in what the filmmakers needed but which was totally of his own. Surrounded by a cast of friends, he locked himself in the basement of his girlfriends father (who even ended up providing the financial funds for the project to reach an end!) and taped the amazing sounds that form the Libra soundtrack, a landmark in French electronic tripping music. The soundtrack was recorded in 1974, and it was released as a vinyl LP on the Tapioca label in 1975. It has since become a highly sought-after LP among collectors of electronic music worldwide, and gets its first vinyl reissue on Wah Wah in a deluxe edition that features a lavish 12" sized, six-page booklet with plenty of photographs from the era and information on the making of Libra in texts written by Philippe Besombes himself and Raul G. Pratginestós." -Wah Wah

"Mexican Summer are elated to announce their latest artist and full length release from Californias Bethany Cosentino and Bobb Bruno, aka Best Coast. Rolling out on July 27th, Crazy For You is a 12-track, twenty-nine minute collection of genuinely romantic sandy jams. Hazy, dreamy and genre-defining, Crazy For You proves that the impressive amount of press hype for Best Coast is more than warranted, especially coming off of her previous sold out singles on Group Tightener, Atelier Cuseaux, Art Fag, Black Iris, PPM and Eskuche.
The bands much-awaited debut album was recorded at Black Iris, a studio in LAs Echo Park neighborhood, by Lewis Pesacov of the bands Fools Gold and Foreign Born. The result is a collection of maudlin and magical songs that approach relationships with a pure heart, a cloudy mind and pair of gas station sunglasses." - Mexican Summer.

"The first reissue of the songs from the rare 1982 "Penny Lane/Im Down" 7-inch from Omaha, Nebraskas BETTER BEATLES, along with eight previously unreleased songs. Unlike their DIY brethren in the punk scene, the Better Beatles sported no originals-just savagely wacked, de-tuned, deadpan readings of Beatles material in a manner no one save the Residents couldve imagined in 1980. The songs are dark, primitive, analog synth-driven and at times transcendent. The single was a John Peel favorite and was played often by him years after its initial release. For fans of early-80s minimal synth wave." -Hook Or Crook.

"Formed in 1970 in Munich, Between was an international band devoted to explore the spaces existing between (hence the name) disparate musical currents: from ancient music to avant garde from Western classical to Eastern musics, from medieval to pop music in a fresh approach that perfectly fitted the experimentation dominating the early 70s German music scene. Whereas many of their contemporaries favoured the introduction of electronic elements, Between relied mostly on purely acoustic sounds, albeit so distorted they would pass as electronic. Roberto Detrees self-made motocello was a constant source of other-wordly sonorities which permeated many of the bands compositions. Add to this Peter-Michael Hamels Indian-influenced systemic organ minimalism and Cotch Blacks hypnotical percussion and youll get Betweens sound in a nut-shell. A mystical vision not removed from that of their contemporaries Popol Vuh that predated much of the new-age, meditation and world-music fusions that would blossom in the 80s. Originally released by Vertigo in 1973 and housed in a colourful psychedelic sleeve by Guntram Holdgrün, this is often regarded as Betweens most exotic and beautiful opus. A huge, majestic droning masterpiece with oriental nuances that might recall Popol Vuh, Fripp & Eno or Taj Mahal Travellers. Classic album from the early German 70s scene that deserves to be rediscovered by a wider audience. With Roberto C. Detrée (guitar, motocello, adapted harp), Robert Eliscu (oboe, oboe damore), Peter Michael Hamel (keyboards, vocals), Cotch Black (percussion) plus Duru Omson (bamboo flute, percussion, voice) and Fabian Arkus (electronics). Limited to 500 copies. Cover reproduces the original artwork by Guntram Holdgrün from the 1973 Vertigo issue. Insert with liner notes." -Wah Wah

"The debut album by this multinational outfit, originally released by Wergo in 1971. A groundbreaking fusion of diverse sources and traditions: from ancient and medieval to avant garde, free improvisation or eastern meditation. A unique mixture that will blossom in their follow up And The Waters Opened. With Roberto Detree (guitar, motocello), Peter-Michael Hamel (piano, organ), Robert Eliscu (oboe, vocal), Cotch Black (percussion), Ulrich Stranz (viola) plus a young James Galway on flute." With 4-page insert." -Wah Wah.

"Bryce Beverlin II is a prolific multidisciplinary artist based in Minneapolis. His primary discipline is music -- specifically, freely-improvised vocals and percussion. Seizing Fate By The Throat is a distillation, the spirit of 15 years of spittle and brass vapors collected in this studio recording from March 14, 2010. Quietly tinkering with an array of metal, plastic and wooden objects, Beverlin draws the listener in only to reveal that he is unlocking the cage of a life-threatening animal. Suddenly: gnash, gurgle, grunt, the sounds of saliva smacking on hand-peeled lips. His performances overwhelm, frighten and suck the air out of the room, exorcising burden and frustration. This recording captures every detail in extreme close-up from inside the artists mouth to the tips of his fingers. Mastered by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl, Seizing Fate By The Throat comes packaged in a full-color gloss varnished jacket with spot metallic printing and liner notes printed in the pocket. Limited to 300 copies only and co-released with Beverlins label Insides Music." - Taiga.

"07.04.99 is the debut release from Bexar Bexar, an individual (and occasional collective) based in Texas. The record consists of a single piece: A beautiful, fascinating field recording with minimal musical accompaniment.
Bexar Bexar has recorded a great deal of material, some of which has recently surfaced on the debut CD, Haralambos, available now from the very fine Western Vinyl label.
This one-sided 12" has been issued on black vinyl in a numbered edition of 330 copies." - Elevator Bath.

"Turkish psych-funk-fuzz-breaks insanity featuring 12-year-old drummer Sefa Ulaştır, a prodigy who ended up working with Barış Manço and Cem Karaca. Beybonlar recorded "Gelin Ayşem" and "Nenni" in 1968; the original 1969 release, a 1972 picture-sleeve re-release, and the inclusion of "Nenni" on the 2001 Turkish Delights compilation all occurred without the bands knowledge. This is the first time this sought-after 45 has been released in cooperation with the band. Includes new sleeve design (the 1972 cover had nothing to do with the band) and a fold-out insert with detailed liner notes and rare photos from the bands archive. Remastered sound. Edition of 300." - Pharaway Sounds.

"The first-ever compilation of Xabagies, the nearly forgotten Hawaiian-influenced music of 1930s Greece, focused on the compositions of Kostas Bezos and his ensemble White Birds. A world-class slide guitarist, political cartoonist, and sleepless Bohemian, Kostas Bezos created some of the most unique music of any era: surrealist guitar portraits blurring Athens and Honolulu, haunting tropical serenades, wild acoustic orchestras, and heartbreaking steel guitar duets. LP version includes a 28 page booklet with extensive notes by Tony Klein and Dimitri Kourtis, unpublished photographs, lyrics, obituaries, and a bonus CD containing 18 additional tracks. Mastered from original 78s by Michael Graves. Co-released by Olvido Records, edition of 1000." - Mississippi.

"The current nom de guerre of Dutch sound artist Raymond Dijkstra, Bhaavitaah Bhuutasthah, lends direction to Dijkstras studio of the same title and frames reference to the cross-confusion of linguistics in modern society. For the past 30 years, Dijkstras output has been varied yet consistent, compiling dozens of self-released albums in which he takes away the focus from the ideas behind completed musical forms, and redirects these thoughts into the hand-made process of its creation.
Utilizing his designated space, Dijkstra composed his recent efforts using his newly embraced medium of electronic synthesis, fusing this with his abstract system of sound reproduction using degenerated tape, natural acoustic phenomena and random percussive patterns. Thematically, “Rückkopplung” attributes this idea of feedback loops within language. The idea of how certain languages lose sight of their original roots and after centuries of words being spoken into themselves, words become foreign recreations of their original place.
As a whole, the inspiration behind Rückkopplung situates itself within the coincidentally bizarre true story in which Dijkstra experienced, as told by Dijkstra himself:

“I was selling a table harmonium. One day, I got a message from a young man who wanted to buy it. His grandmother had recently died and he wanted to play the harmonium on her funeral two days later. I sent him my address and the following day I met him at my home. He acted somewhat confused because he had just, in front of my doorstep, received a somewhat unsettling message from his mother about his grandmother...and my house.
Since the man had told his mother he would buy an instrument at my address (an old 1924 art deco house which had seen better times due to poor (no) maintenance), she wrote him a message informing him that his grandmother had lived right there, in exactly the same house for over 20 years. They were the previous tenants just before I came to live there. He told me the name of his grandmother was Faber. I knew then that the story was correct. I remember having received mail from the previous tenants the first year in my new house. The name was Faber.
And I knew an old man had died there. That was about 25 years ago. The young man and I were both speechless. We realized the strangeness of the whole situation. The young man was somehow led to my house. The same house where his grandmother had lived an important time in her life. And where her husband had died, the year before I came there.
We talked about his grandmother and I told him something about the house. He would later send me a photo of his grandparents and his mother and father, sitting in my current living room. A strange timeprint of something which had happened a few decades ago, in my house.
The next day he would play the harmonium on the funeral of his grandmother. The same harmonium he had bought at the house where his grandmother had lived.” Edition of 65." - Robert & Leopold.

Bhaavitaah Bhuustasthah is Raymond Dijkstra (here on Mellotron, Moog IIIp, and percussion). "The following Text is not about the Content of the LP.
Nor is it an Effort trying to explain what this LP is about.
The LP is not about Memories, nor about Remembering any of the Events described below, despite the Title.
The Title points at a pristine State of Being, while being in the Middle of a Cosmic Event.
The Remembering of the Manifestation of the Cosmic Event, while being in the Middle of the very Manifestation. The Realization you recognize this. Even while you havent been aware of it before, nor did you ever knew it existed. It is the Moment you become Whole again.
The text below is merely a fluctuating Series of earthly Events, a Series of Events which may or may not have happened in a Lifetime.
*****
Returning to the great O...
Daydreams saturated with Distortion
Endless Circles of Circles in a Room: I was lying on my Bed. Motionless. At the same Time moving forward in Acceleration, in a Tunnel. Turbulence. At the End of the Tunnel there was always Freedom, floating in open Air… At the same Time in my Room, sparsely lit. Cosmic Chaos. I was working on a Painting; my Hands still dirty from the Day before. The Painting contained many Layers from being overpainted over and over again. My History contained in Layers of now unseen Visions. Like Memories. One Year Before I was in Front of the same Painting. In a different Room. In a different Town. I had been working on this Painting before… It was like painting my own Life over and over again. The Board was too small to just contain only a small Fraction…
I woke up in Violence. Two Hands were holding me while two other Hands were punching me. Around me it was black and cold and I saw about thirty staring Faces around me. Apathetic, curious Gazes in a Mixture of Disgust and Bloodlust. Three old Friends were in between them. Their Faces were partly cowardish and ashamed for letting their Friend fall. When the Fight was over, they picked me up and dragged me Home. It was the last I saw from them. It is interesting how sharp you can see all the Details of an Event while your Consciousness is slipping away. In the Crowd I recognized a Girl who Id seen walking through Town regularly.
The other Day I stumbled upon H. We had been very close Friends once in another Life. I still feel Friendship. Although our Friendship was lost a long Time ago. He only knew me the first 19 Years of my Life. The last ones of these were pretty hectic. It is funny to know when someone thinks of you, he sees an Image from Days long gone. I exist in many Realities. His Memory of Me is as real as is the current Me. Today I saw Me again. Upon Goodbye, we embraced. Again in another Life, me and A, my dear best Friend were walking through Town. A had committed Suicide a few Years later. He was only 13 when he had laid himself on the Tracks of a coming Train. The Universe ended then. His. And Ours as well. Just a Couple of Days back I was standing in front of his Grave for the first Time in 34 Years. His Mother was buried in the same Grave just two Years back. His Fathers Name was already engraved on the Stone, while still alive. I will always love you, A. My fragile Italian Friend with vibrant blue Eyes." - Le Souffleur.

From Hisham: This AMJ is a compilation made up of mostly collage work I have done over the years, as well as some of my installation drawings. This if the first book of my own so I am excited about it and hope you are as well. It was a simple process to create this book but I am glad to have it out in the world. It describes an era of development for me in my work. I hope to surpass this work by keeping on the creative path but its nice to have something to look back on. Art is for sharing not keeping to yourself. The more people your work can speak to the more powerful it becomes. Let it fall out of your hands and into the minds of others. You cant own it, you can only create it.
"Hisham Akira Bharoocha is an artist currently based in Brooklyn, New York. He concentrates on creating music, visual art, and photography. Bharoocha has had solo exhibitions of his work at DAmelio Terras gallery in New York, as well as Vleeshal, a state run space in The Netherlands. He has been in numerous group exhibitions at galleries such as Deitch Projects, John Connelly Presents, and Yerba Buena Center for the Arts. His work has been published in Art Forum, V, i-D, Flaunt, Tokion, Dossier to name a few. Hisham is well known in the underground music scene for being a founding member of the bands Lightning Bolt and Black Dice. After leaving Black Dice, he created Soft Circle, a solo project that allowed him a more personal exploration of his own musical interests. His first solo album, Full Bloom was released in January 2007 on Eastern Developments. He has a split 12 inch release with High Places that came out in July 2009 on PPM. Soft Circle is now a duo consisting of Bharoocha and Ben Vida (Bird Show/Singer) and they are working on a new album which will come out in the Spring of 2010. Hisham has collaborated with artists such as Doug Aitken on a sound piece that was performed at MoMA during his Sleep Walkers installation, as well as musicians such as the experimental rock group Boredoms in which he helped organize the legendary 77 BOADRUM (which happened on 7/07/07 where 77 drummers performed with the band in Dumbo Brooklyn), 88 BOADRUM (which happened on 08/08/08 where 88 drummers performed with Boredoms in LA, 88 drummers playing with Gang Gang Dance in NYC at the same time) and 9 BOADRUM performances (which happened on 9/09/09 where 9 drummers performed with the band as well as other dates including playing the ATP Festival curated by Flaming Lips)." - Soundscreen Design.

"The debut release from an aptly named bi-coastal duo. Bi is the amalgamation of New York experimental fixture Eric Copeland of Black Dice, and Los Angeles based alternative psych-pop musician Jimi Hey (All Night Radio, Beachwood Sparks). In SurfnTurf the pair use humid sunset production to bent pop songwriting, to give us their take on bubblegum. Think Tall Dwarfs meets ELO. 7" limited to 300." -Mexican Summer.

"Following the path opened by Frammenti, this new work represents the radicalization of the fragmentary approach in Maurizio Bianchis music. A musical composition resulting from the combination of various elements: Hetzian-waves, classical and electronic music. MB eagerly explores the immaculate spaces of the so-called frozen continent, the only one not contaminated by the human presence. The hostile surroundings and the prohibitive temperatures made the frozen paradise so stimulating and pure. Antarctica was an immense park frozen after the post-Flood events when unexpectedly and suddenly the temperatures felt of many centigrade degrees. This process is well emphasized in the Antartic track. On the other hand, in Mosaic the listener mind is projected into the future when, after the decontamination process of human presence on Earth, the frozen continent will become again a paradise. Again a strictly formal and structured work, two long and exhausting sound-collages made of little fragments, even more radical than his approach when MB was active under the name of Sacher-pelz. Also included is an excerpt from The Technological Nonsense, a text presenting the forthcoming book on Maurizio Bianchi activities soon to be issued by EEsT. As MB stated: Antarctic: sonorous infiltration in a deteriorated glacier and Mosaic: liquid resonances for asymmetric decodings. Are the glacial 1980s so far away? Available now in a CDR edition limited to 300 copies." - Alga Marghen.

"Private LP edition of 300 copies in 1984. This record is the soundtrack for a film with the same title, produced and directed by Maurizio Bianchi. For obscure reasons, the original LP remained unavailable for a long time, and was distributed only 1 year after it was printed. Moreover, most of the copies were destroyed. Less than 100 actually exist. This was MBs last vinyl production, and also the only one featuring recordings of the artists voice. It was made during a period of huge change in MBs life." - EEST. 2014 repress.

"Reissue of the 1984 classic. Both sides mesmerizing time benders, ominous and beautific. This exuberant opus was conceived about one year in advance, during my final achievement to the so-called bionic music. Originally was finalized for an apologetic movie directed by myself, but this cardiotonic objective was fallen into demagnetizated oblivion. Remained just the palpitating gait of this apocalyptic soundtrack. -- M.B."

"the italian industrial legend, maurizio bianchi, is back. more prolific than ever, he proposes here a 24min track which should put the listener in a trance-like state... rather ambient & evolutive construction with venenous & penetrating sounds..." - Taalem. "this microbic "bactérie", conceived and realized at the beginning of 2005, is profaning the rigid stoicism of our educational orthodromy, while a dichromatic decontamination accustoms the agoraphobic atomicity. the captious escape is vulcanizing the mutant manipulation of some articulated blastogenesis... another altruistic bacterial sickness?" - maurizio bianchi / M.B.

"Originally issued as a private LP in an edition of 400 copies in 1983. De-composition for bionic organisms and concrete sounds. A sound that refuses both the cold logic of the fetish electronic computer-man-of-the-year and the sterile exasperation of the negative. A sound that dilutes and coagulates, eluding the listeners with minimal variations that make the cyclic style of Phillip Glass resemble a carousel of colors. This CD also features two untitled tracks first issued on compilation cassettes. Compositive discipline." - EEST. 2014 repress.

"Mindblowing double LP reissue of Maurizio Bianchis impossible-to-find 1980 cassette, "decomposed" in October 1980 using cacophonelectronics and dedicated to the physical attraction to Sylvia Simonelli (September 1980/June 1981). "The genesis of this work is incredible. In the office where I worked, I had found a stamp with COMPRESA (in English, included) written over it, and so I came to the starting point for a new experimental work. Erasing before the second, fourth, sixth and eighth letter, so I obtained the title CMRS, on the other hand by deleting the first, third, fifth and seventh letter, I obtained the title OPEA, and it fascinated me. I had recently bought a synth KORG MS20 and so I began to experiment with it, but having only one output jack, I had to connect it to an AKAI cassette recorder that had two inputs, so the inevitable consequence was a mono recording (something that was strictly maintained, but divided on two channels). The result that followed was a cassette format C-90, with very grim and voluptuous electronic sounds, and it was distributed only to a very few friends and followers. All this happened back in October 1980. Then this recording became virtually untraceable, until a few years ago when I was in contact with Vittore Baroni who wrote me that he had a recording that I had given him several years previously, precisely CMRS/OPEA! So this work of historical value will surely make a lot of my genuine fans happy" --Maurizio Bianchi, February 7, 2015. Originally issued as private C-90 cassette in about seven or eight copies, and distributed only to very close friends. Mastered with supervision by M.B., Milano, 2015. No changes of pitch were made in the mastering process." - Urashima.

A new subdivision of Alga Marghen, to deal with MBs music. "The very first new recording from Maurizio Bianchi (MB) since his decision to quit the arena of sound in 1984. Yes, hes back, the world-wide recognized master of apocalyptic electronics has decided to come back to music, opening up a new phase for his creativity." - EEST.

"The terminal concept of Cycles is matured after the sharp Fragments and the Glacial Mosaics of MBs recent artistic reproduction, at the end of a triennial project, aiming to exacerbate the routine of prefab sound, the common and forgone sound created to be exclusively consumed by an amorphous and servile mass, sunken in a sullen entertainment. The approach here is totally new and the fragment is isolated and constantly repeated in order to build an aural minimal architecture. As MB states: Our whole existence is subordinated to intense and mathematical cycles, from the biological to the technological one, from the solar to the lunar one, from the historical to the legendary one. The cyclicity of the sonorous meanders of Cycles is, probably, the unique example of cyclic music. Particular and interatomic sonorous repercussions infinitely and distinctly repeating themselves, captured in a spectroscopy of atavic and coriaceous notes. And in the classic mood of the early 80s style, MB continues: The establishment will disagree. Such an experiment will be considered tedious and banal. What matters to me is not the ephemeral judgement of this sick and condemned reality. Finally the nine cycles included in this minimal work could be considered my appropriate epitaph. I have already entirely expressed my own artistic freedom and I wonder whether this might be nothig but the end of another cycle, in anxious expectation of the... eternal cycle. Due to the extreme nature of the material included, the reproduction of this edition has been limited to 200 copies only."- Alga Marghen

"Have you ever looked into the abyss? Man, its scary! An infinite void of the blackest black where not even a gleam of light can escape its dark talons. Needless to say, its not the most popular destination, but hey, it is there. And believe me, sooner or later that day will come when you will sit on the cusp and fix your eyes on the vast nothingness that is everything. But until that hour beckons, you may as well prepare yourself by spinning Das Platinzeitalter by Maurizio Bianchi.
Dark ambient barely captures what is engraved in these grooves. Loops from the history of dust, ancient as the catacombs and spectral like the last rays of hope. Theres an eerie calmness to all four sides of this LP. Timeless and inevitable as the setting sun, as if this music has always been here. Which it has. It was up to Bianchi to find it. This recording captures the never-ending decay of beauty at the point when it is realized that resistance is futile and the metamorphosis has begun. There are not many musicians who can distill this essence: early Zoviet France, Nature Unveiled-era Current 93, Lustmord and Andrew Chalk/Mirror to name a few, but Das Platinzeitalter sounds like it comes from hallowed grounds, the once sacred is now profane. It forces your head to turn toward the abyss. Its up to you to open your eyes and look.
Then the next thing you know, its over. Its all over. �??Dennis Yudt. Screenprinting faithfully reproducing original CD art by Seizure Palace, Portland, OR.
Limited to 500 copies on silkscreen foldover covers and hand-numbered in silver ink." - Weird Forest.

"Bianchi began to produce music in 1979, at the peak of the industrial scene since 1980 using electronic equipment with the avowed goal to produce technological sounds and in such a way to work on complete realizing of the modern decadence, but his works harked back to the musique concrete of the 1950s. This CD is a return to his early work. Maurizio Bianchi/M.B.: archaic waves, ancient loops, primitive electronics." -Incunabulum.

"EesT records is happy to announce a further step into the Maurizio Bianchi new production, a new compact disc which completes the Trilogy starting with the previous Colori and First Day-Last Day . This time the author concentrates on Time, or the inevitable. A sound counterpointistic journey beginning with the creation of the first human being, in autumn 4026 B.C.E. and passing through the two big planetary cataclysms. Then the individual experience of MB himself is investigated, a sort of electro-biography. The climax of this work is represented by the dramatic collaps describing the imminent destruction of todays society. MB explains that this is not an utopical perspective but those feelings rise from the Revelator of all the secrets, the One who knows the future in advance and all the connected events. The Creator of the majestic universe and the One to whom all of us will give account when the final war of Har-Maghedon will break up on 60.. A.M. Will there be any survivor then? Hopefully there will be among the listeners of this work who will delight their ears and fill their hearts with the compelling and intense emotional sounds of Dates ." - EEST.

"Originally issued as a private LP edition of 400 copies in 1983. De-composition for synthetic sounds and electronically generated noises. Here MB distanced himself from the movement of the industrial bruitists, introducing his bionic music. Notwithstanding the difficulty of listening, especially upon initial impact, you are facing treated and filtered synthetic sounds that become new organisms -- sound cells analysed under the microscope. This CD also includes excerpts from private tape editions originally issued on compilation cassettes. Personal and obsessive."- EEST. 2014 repress.

"First ever vinyl reissue of the highly coveted classic LP by Italian noise composer/ sound visionary Maurizio Bianchi. Originally released in an extremely limited private press quantity in Italy in 1983, Endometrio showcased M.B. at his most crucial turning point, delving into the uncharted waters he aptly titled bionic music, blending organic electronics with contorted sounds of the human body to compose one of the most interesting ambient records to date. Copies of the original LP are practically non-existent and hard to come by, therefore making this reissue an important addition to any experimental aficionados audio library. Complete with current liners and artwork insert from Maurizio Bianchi, limited to 500 hand numbered editions." - Dais.

"One year has passed since MB/Maurizio Bianchi decided to come back to the music arena with his very personal new sound exploration. Conceived in the same direction of the previous CD titled Colori , this new work found its bases in the revaluation of the events the started the Creation, when an intelligent and complex act of sublime love started our physical universe off, transposing them in form of 8 electronic compositions elaborated in a 2 year work. A darker atmosphere marks the background sounds giving to the whole program a more obscure and less easy impression while the more melodic traces fluctuate without direction in an empty space. MB has always worked in a very direct way following his true inspiration; he has devoted his music to the sincere listeners who will now immerse themselves in these sound waves and in the sea of primordial sonorities. The connection to his past recordings is to be found in this attitude and a reference to these feelings was already existing in the early 1980s as reported in some interviews and statements soon to be included in the full documentation of ArcheoMB boxset 2 (not a reference to the specific religious themes but anyway a more general idea of spiritual collapse and chancing). What could be interesting is to notice this continuity and consider the past and present works as a whole. Of course with a huge formal difference in the material sound approach." - EEST.

"Frammenti, i.e. fragments, is the new direction in Maurizio Bianchis music. An acoustic-bionic composition for electromagnetic waves and cyclic sonorities. Left now are all the indeterminate atmospheres gently fluctuating, in order to reach a more formal and structured work. Still dealing with the fragments of our memories made of joy and tribulations, sensations and awareness, aspirations and disappointments, with the carnal and the spiritual assistance. This new composition, quite as literally as the title suggests, consists of two long sound-collages reminding some of the techniques that MB was using in the late seventies under the name of Sacher-pelz. The music is not that brutal DIY intensity of analogic treatments, but more a digital version of nowadays oscillating clinic sonorities. As the author stated: "Those who will have the courage to listen to and investigate it, will remain mentally upright when confronted with the opposition of todays music -- which is so mechanical, hybrid, aseptic, narcotic, obsessive -- while in their heart nothing will be left but the principal fragment, which originated the sonorous universe: the sacredness of infinity!". Available now in an edition limited to 500 copies." - EEST. 2014 repress.

"I have no idea when Maurizio Bianchis Genocidio 20 was recorded but for various reasons it could be an old work, or perhaps something new, but if thats the case than hes playing some old tricks. The first of the six tracks starts out with a nazi speech (not Adolf, but somebody else, I think Rudolf Hess, but identifying voices of nazi idiots is not my science) and quite quickly piercing electronics. Other nazi people also have their say. This could be MBs Weltanschauung record from a quarter of century ago. I believe he lost interest in this kind of stuff, hence me doubting the recentness of this release. But the fourth piece starts out really soft, and that is very unlike early 80s recordings, so perhaps this is recent?" - Vital Weekly.
"This is a real puzzler, as theres practically no information whatsoever.. which leads me to guess that it dates from the early 80s, Bianchis "nasty" period, before he became a Jehovahs Witness" - DW.

"An early work of MAURIZIO BIANCHI recorded at Mectpyo Studio in 1981. Originally released by Banned Productions in 1992 on LP. CD packaged in five-color screen-printed arigato packs. Two tracks, fifty minutes. Edition of 300." -Phage

Incredible heavy-duty box featuring M.B.s early works: 1979-1981. 5 individual LPs in jackets, plus xerox insert, numbered to 500 copies. "Including his early tape-masterpieces released on his own tape-label, for the first time to be released on vinyl. The box will includes the following material on the vinyls: Com.SA - Computer S.P.A. (VOD26.1); Voyeur Tape - Noise O Rama (VOD26.2); Cold Tape - Dicembre 1980 (VOD26.3); Industrial Tape/ S.F.A.G. (VOD26.4); I.B.M./Technology 1 (VOD26.5)." - Vinyl-On-Demand.

"FINAL SIGNAL", THE THIRD UNCOMPROMISING CHAPTER OF FREQUENCY IN CYCLES PER SECOND REALIZED IN STRICTLY COOPERATION WITH MAURIZIO BIANCHI, CONSISTS OF ONLY ONE TRACK: THE OVERALL LENGTH IS OF SEVENTY MINUTES AND ONE SECOND, BUT THE IMPRESSIVE AUDITORY SENSATION RECEIVED IS OF A NUCLEIC AND LIQUEFIED ETERNITY!
YES, THE ATEMPORAL AND CATHARTIC SOUND PRODUCED BY THE CACOPHONOUS DEVICES OF SANDRO KAISER AND THE INSTINCTIVE MACHINERY OF M. B. ARE GRINDING THE PHONOLOGIC RATIONALITY OF THE NOTHINGNESS... WAITING FOR THE INDECOMPOSED EPITAPH." - Sonic Abyss. Frequency In Cycles Per Second- electronics, soundbeam; Maurizio Bianchi/M.B. - violins, environment sources, tapes. Limited to 300 copies.

2008 repress. "First issued by Mnemonists label (DYS in the US). M.B.: proto-electronics, compositions, arrangements. Mektpyo Bakterium is a work furnished of implacable plastic exasperation. The icy oppression, the hallucinative electronic wounds, are a precious and singular fact in a technological society brought to the limit. The emotion is pushed into dangerous zones, and unusual zones, and unusual tensions -- free biological groans of extreme effectiveness. A vivid expression of a world in extinction! Bonus tracks: Placenta, first issued on the 40 Days 40 Nights picture-disc LP in 1982, and the M.B. contribution to the International Friendship compilation LP from 1983." - Eest

2015 repress with new packaging. "Exclusive presentation of the complete M.B. / Maurizio Bianchi recordings from the early 1980s originally issued on LP. Starting from Sterile Records Symphony for a Genocide to Broken Flags The Plain Truth, passing through DYS Mectpyo Bakterium and all the records privately issued by M.B. on his Mectpyo Sound. A slipcase with 10 CDs reproducing the 10 LPs issued between 1981 and 1984, plus all the tracks by M.B. from international LP compilations and a large selection of tracks from international K7 compilations. Each CD reproduces the original artwork and layout, with a new numbered inlay card. Also included is an 84-page booklet with original artworks and collages, M.B. playlists, interviews and reviews, as well as essays by M.B. on S.P.K., Whitehouse and Come, T.G., Monte Cazazza, Metabolists, Conrad Schnitzler and excerpts from the Dictionary of the Ultra-Glaciality." - Mectpyo. Edition limited to 200 numbered copies, including the following CDs: Symphony for a Genocide (1981); Menses (1981); Neuro Habitat / Moerter Unter Uns (1982); Regel (1982); Mectpyo Bakterium (1981); Das Testament (1982); Endometrio (1980-81); Carcinosi (1979/1982); The Plain Truth (1983); Armaghedon (1984).

"At the beginning of the metabolic year 1980, after Maurizio Bianchi finished the embryonal experience as Sacher-Pelz, he decided to undertake the concrete-synchronized course as M.B., a long-lived acronym that will accompany him along his next way of neuro-synthetic experimenter. His first ever release was the private cassette-tape entitled Metcpyo/Blut. An hematopoietic experiment decomposed during the months of March and beginning of April 1980 at Mectpyo Studio. Proposed here in its original layout, this 2LP set holds intact, at a distance of almost three decades, the epicenter of M.B. sonorous universe, projected towards an euphonic cacophony. Mectpyo/Blut consists of two tragic sections imbued with synthetic chloroform: the 1st, Maidanek Bakterium / Musique Belzec, exhales an icy atmosphere conveying a sense of mystery and annihilation. The 2nd, Mutant Brain / Mord Banhof assembled the most disparate electro-hypnotic levitations into a vertical rationality, bold, morbid and haunting. Psychic-cerebral works, they seem to spring from a neuro-atomic continent, with unreal outlines, where its influence artificially expands the ankylotic tissues by environmental arthrosis. Edition limited to 300 copies in full colour gatefold sleeve, reproducing various graphic materials from the original cassette edition. Attention: this is the real thing, top powerful and modern in its integral length (and not a meaningless edited excerpt as other inexperienced labels in demand would have cheaply proposed you!)." -Marquis. On red-colored vinyl.

2008 repress. "Reissue of the private LP edition of 300 copies from 1981; the pyramidal construction of these two suites, with its intentionally brutal and grotesque deformations, elaborates on overflowing and apocalyptical collapse, dragging a completely dissolvent conception of the world and of the para-industrial sound. Bonus tracks: Milan Bruits from the Fix Planet! comp (Ata Tak) and the two tracks first issued in the very limited Nowhere To Play in 1981. Let M.B. be your executioner!" - Eest

"EEsT presents two new works by Maurizio Bianchi: Mind Us Trial. Phonological de-composition in eight dissections for tapes, noises and neurologic piano. This paleogenetic work wants to be an epitaph, and at the same time a commemoration, of those corrosive instants when M.B. was an equalized disciple of the industrial delirium. With respectful thanks to the electroacoustic influence of the decadent and palpitating past. Ihc Naib Oizir Uam. Cyclic improvisation for chaotic piano, apocalyptic guitar and final frequencies." -EEST.

Edition of 300. “In order to create this sound system, I used the conduction of psychomotor pulses merging it with neurosis signals circulating within the hypertrophic experimentation to get a plant immune-sensitive, so that the metabolism of rumoristic environment emerges with the syndrome dissonant electronics, and the result was NEURO HABITAT.” - Maurizio Bianchi, 2013.

2008 repress. "Reissue of a private LP, issued in edition of 300 copies in 1982; a skeletal extremist project that will then transform into the soundtrack of a movie with the same title, edited and directed by Paul Hurst. Its the setting of the griable pre-apocalyptic fossilization, the supreme lapidation of the meanness which creates the myth. There are actual melodies present -- dense and dark that mutate into harsh electronic outbursts. The CD also features Plutoniumetrico from the Fur Ilse Koch LP compilation." - Eest

Edition of 250. "Ive taken inspiration for this medicative work from the sordid persecution of the early Christians, but in other ways we receive objectivistic persecution every day from this standardized system, from our wretched condition and from the modern persecutors which are hidden behind their threatening countenances. The appropriate soundtrack of such perturbed sufferings is this justifiable work, «Persecutionem», in which the semblances of our gaolers are inherents on these obstructed sounds, and the hopeful liberation of our existences are culminating on the eschatologic modulations. The deliberate epilogue is contained in the derogatory elevation of our reinstated spirituality for a repulsive capital sentence in order to transform the alienated persecutor into an inalienable victim of persecution." - Maurizio Bianchi - February 2009.

"Ive taken inspiration for this medicative work from the sordid persecution of the early Christians, but in other ways we receive objectivistic persecution every day from this standardized system, from our wretched condition and from the modern persecutors which are hidden behind their threatening countenances. The appropriate soundtrack of such perturbed sufferings is this justifiable work, Persecutionem, in which the semblances of our gaolers are inherents on these obstructed sounds, and the hopeful liberation of our existences are culminating on the eschatologic modulations. The deliberate epilogue is contained in the derogatory elevation of our reinstated spirituality for a repulsive capital sentence in order to transform the alienated persecutor into an inalienable victim of persecution" --Maurizio Bianchi, February 2009. Maurizio Bianchi/M .B.: scourged martyrized pre-recorded sounds and tortured waves, with the persecutory interferations by Siegmar Fricke. Maurizio Bianchi is a non-musician active since August 1979. Coming from the punk movement in the mid-70s, M.B. became soon a pioneer in noise and industrial music. His music was characterized by uncompromising, noisy musique concrète abstractions, produced by turntable, loops, and tape-recorder. The sound he created at that time was the result of permanent frustration in life, love, religion, and politics, reflecting his inner soul and expressed his condition of being lost in a web of sounds and nightmares. After 14 years of mental purification the second M.B. phase began, characterized by a very spiritual approach. Siegmar Fricke, qualifying Bianchis second-phase works as "Pharmakustik," shares the same fascination for clinical sound abstractions and electronic modulations as M.B., and has done several collaborations with him. Bianchi has worked with various other artists including Aube, Telepherique, Nimh, and Stefano Gentile. Maurizio Bianchis main inspiration remains human alienation, and his goal is to awaken sleeping consciences." - Rotorelief.

"While producing the second ArcheoMB boxset (including the CD edition of 5 original M.B. LP records from the early 1980s: Das Testament; Endometrio; Carcinosi; The Plain Truth and Armaghedon), the documentation staff working on the Maurizio Bianchi reprint series came across a very strange and peculiar object. It was a private tape dating back from 1980, never mentioned in official discographies and given only to close friends (this copy actually coming from the archive of mail-artist Vittore Baroni). The music was introducing a unique approach in MB sound. It was soon evident that this tape marked the passage from the Sacher-pelz concrete techniques to the new M.B. universe; the loop brutal approach applied to poor & pure electronic sounds and concrete material, so typical in Sacher -pelzv projects (see full documenation presented in Mutation for a Continuity 4CD boxset), was here pushed to its extreme consequences and used to manipulate the soundtrack of the famous movie by Stanley Kubrick, A Clockwork Orange (it is whispered that some Kraftwerk records also suffered the same treatment, but evidences of this were never found). In the same days, M.B. also produced his first power electronic tapes titled Cold, Voyeur and the epic double C90 Mectpyo Blut which set the new orientation to all his following works. M.B. plays A Clockwork Orange was a unique moment in Maurizio Bianchi sonic researches and is made now available for the very first time; the first LP record by M.B. isued in about 20 years. Due to the specific kind of material reproduced it was decided with M.B. to issue these historical recordings in an edition limited to 300 copies only." - Marquis.

"Reissue of a February 1980 decomposition from the Italian industrial forereunner. Halting tape cut-ups of the classical score from the film. One of the strangest M.B. recordings! Pro-printed jacket." -Hot Releases

"Reissue of the private LP, issued in an edition of 300 copies in 1982; his experimentation with noise syndrome has developed into a powerful stylistic electronic music that on Regel is coherent and dynamic. A dense synthetic melange sets the backdrop over which he uses various rhythms/effects to achieve maximum intensity. Acido Prussica, first issued on the Neuengamme LP compilation, is also included on this CD edition. Maurizio is ready to unload this death cargo." - Eest. 2014 repress.

"Maurizio Bianchis 1981 Symphony For a Genocide LP is the artists most well known work, widely recognized as a classic of early industrial music. A year and a half after its initial release on vinyl in a limited edition of 227 copies, the album was reissued on cassette by the Broken Flag label. It was at this time that Bianchi created an entirely new recording drawn from the audio of the original LP. Entitled S.F.A.G. 81 and issued in January 1983 as a companion to the Symphony For a Genocide cassette release, it was a radically different work comprised solely of two extended, side-long tracks. Bianchi had already began to evolve from the harsh and primitive attack of his earliest releases toward a more desolate, introspective sound exemplified by The Plain Truth and Armaghedon albums; S.F.A.G. 81 lands somewhere in between these two approaches. Remnants of the relentless mechanical rhythms and synthesizer churn of the original Symphony remain, but it is as though one were listening to them from a distance, lost in the midst of a massive blizzard. Strains of recognizable sound drift in and out of earshot like hallucinations, echoing across the bleak stretches of grayed-out sound. S.F.A.G. 81 has been re-released (often in abridged form) on cassette and CD several times over the years, and an excerpt appeared on one LP side of Vinyl On Demands massive five-disc Broken Flag retrospective box set; this reissue marks the first time ever the complete album has been available on vinyl. Remastered and fully authorized, it comes packaged in thick tip-on jackets with artwork by longtime Bianchi collaborator Siegmar Fricke. One-time pressing of 500 copies." - Recursion.

2008 repress. "ArcheoMB is the title given to the complete reprint of old M.B. records and here is part 1. EEsT Records and M.B. collaborated in this project, well understanding the value of these early works and their importance in the evolution of M.B. The sound has been improved for this digital edition from original master tapes and under the supervision of M.B. himself. All CDs feature the original artwork plus the complete historical documentation (liner notes, reviews, statements). First press of 1000 copies each. Symphony... was first issued on the Sterile label in the UK in an edition of 200 copies. M.B.: electronics, effects, rhythms. Symphony... is the most extreme music youre ever likely to hear. There are 7 tracks, all consisting of a never-changing hissing or clanking rhythm, electronic effects over the top and a wall of distortion somewhere in the middle. This is the sound of industrial music, not T.G. Maximum electronics! 3 bonus tracks first issued on Bain Totals International Compilation 2 in 1980." -Eest

"M.B., aka Maurizio Bianchi, has enjoyed a deserved renaissance in recent times as a new generation discovers his charred brand of industrial noise, particularly the artists formative early 80s period before he disappeared in pursuit of religion. In the ensuing years, many of these early records became prized collector objects, garnering hundreds of dollars -- if they could even be found. Bianchi has since returned to creating music and many of those pricey releases have been re-issued on vinyl except for whats widely considered to be his seminal work from that time, Symphony for a Genocide. Weird Forest is proud to rectify this situation. To the uninitiated, Symphony may sound like so much noise with its unyielding factory-of-death buzzsaw sound making Throbbing Gristles industrial music almost top-40 by comparison. But buried underneath the unrelenting martial rhythms and analog siren sounds is a great deal of musicality, including synth melodies and basic chord progressions. Bianchi uses all these elements at his disposal to create a gripping audio portrait of the grim subject matter. Re-issue is strictly limited to 500 copies and is a near-exact reproduction of the original Sterile Records release, including hand-stamped labels and inserts just like the 1981 issue." -Weird Forest

"Originally released in 1981. "The moral of this work is: The past punishment is the inevitable blindness of the present. Death camps were established through the process of dehumanized engineering, to destroy the will of the individual, and to create industrialisation of death. The modern parallel is to override the individual human choice through mass-media that established the city of death, in which marketing has become synonymous with mass destruction. A pathetic symphony for both is inevitable. To prevent physical destruction of the inner sound, I accomplished the noisy dignity of an electronic apparatus with the aim of prosecuting the masses minds that massacre and organize new dehumanization. Symphony for a Genocide is a pseudo-symphonic legislation that make no compromises with the modern musical de-evolution" --Maurizio Bianchi. "Battle green and black" vinyl. Limited numbered edition of 500." - Rotorelief.

"First issued on the Broken Flag label in the UK in an edition of 500 in 1983. A different style, providing some distance from all his previous works; a more expansive experimentation with multiple layers of synthesizer sounds. Still very intense. MBs recordings come closest to classical electronics, but always with a very personal style. This CD edition also features an interview on Radio Popolare in Milan from 1/1/83. An English translation is included in the liner notes. Dedicated to all the redeemed people." - EEST. 2014 repress.

"and about MB tape, its originally right channel only recorded stuff
(+ low level white noise on left channel).
here is a MBs note:
"Concerning the description of why only the right channel, Ive only this in memory:
I was trying some experiments at my first approach on my new MS20 Korg synthesizer,
without any experience on it (because Im not a musician) and I pushed some button
by mistake and the sound came out only in a right channel." "The "UNTITLED 1980" tape is an old tape without title found
from a friend of mine, and I called it "UNTITLED 1980" because
its without title." - Maurizio Bianchi

"Active since 1979, Maurizio Bianchi is an Italian pioneer of noise and industrial music. Untitled 1980 was originally released in 1980 on cassette in Japan. This release marks the first re-issue of this work and pairs it with a 2013 re-working of the original material into four entirely new compositions. This work was created using only a single semi-modular, monophonic synthesizer or, as Maurizio says: "Originally composed in October 1980 simply by using a synthesizer Korg MS20, but with so much imagination. Dedicated to technological sophistication." RIYL: Astro, Space Machine, Merzbow, Francisco Lopez, Nurse With Wound, Conrad Schnitzler." - Important.

"Recorded in the spring of 2010, this has been declared as the final output of MB entitled ‘Violichte. As a fatal swansong, MB loops of his own violia performance, processed through Bianchis familiar distorted fog of suspended drone. Each resonant loop slowly taking form until reaching an ultimate apex, creating an audible deity complemented with MBs own hertzian generators carefully manipulated to create one of the most delicate abrasions that experimental sound has ever joined." -Robert & Leopold

Edition of 444. “At the beginning of 1981 Maurizio Bianchi sent some demo tapes to the Come Organisation in England; after that, they extracted and blended together the sounds to get the final work. The title « Under The Victory Banner », an anachronistic and detrimental track for the rest of the album has been replaced by the title of the same set « Plutoniumetrio » edited in 1982 by the Come Organisation for the compilation « Fe Koch », which fits much better with the other tracks.
The Come Organisation was a record label founded in London in 1979 by William Bennett, initially as a vehicle for his group Come, and later to specialise in extreme electronic or controversial music, in particular for his subsequent group Whitehouse, but also for other groups including Maurizio Bianchi, Nurse with wound or Charles Manson. When Whitehouse went on hiatus at the end of 1985, Come Organisation was dissolved.” - Rotorelief.

"Maurizio Bianchi is back on vinyl! A new special limited edition from SmallVoices and the father of Italian industrial music, together with Land Use in this new chapter of his legendary career. An oppressive meditative obscure early-industrial symphony based on two monolithic pieces of thick throbbing stuff. A long deep trip into the darker meanderings of the human mind... good luck!" - Small Voices. From the liner-notes "Electro-neural mitosis for hypochondriac neurotronic waves and farraginous tone emissions, achieved during the decline of the 2005 by Maurizio Bianchi and Land Use." Preface "The tabular discovery of the infectious scent is unseatting the undelayable grinding of an extremistic property. In the rancid combination of "Bionic Music" and "Musique Concrète", the virological zoning renders some synthetic and respectable optograms to the marginal intractability. TSE-K oppresses the phototherapeutic egotism with its pre-recorded electronic sources and deranged acoustic samples. Its the sharp and insignificant scream melted together with mutated voices... Physiological disinfestation and sonic treatment for the hypochondriac listener." - Maurizio Bianchi

"Spanning the course of two years to create, legendary Italian noise composer Maurizio Bianchi & Ryan Martin took on the pilgrimage of scoring the abstract marriage of the Song of Solomon. Employing prepared electronics with accompanying strings and tape, this ambient religious collaboration seeks to flesh out the union, to understand the universal desire to be one. Constricted lullabies walk down the aisle to create a consortium of moving, ghost-like consolidation. Mixed and edited by Anthony Mangicapra (Hoor-paar-Kraat) and mastered by Kris Lapke (Alberich). Magnetized onto two cassettes and housed in a vinyl tape album." - Robert & Leopold.

"Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni. Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his 20s he formed Spanish prog-rock outfits Zebra and Euterpe, where he would meet Pepe Milan, the two of them becoming the bluesy folk duo Milan & Bibiloni. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage, to name but a few. In 1982, Bibiloni set up his own label Blau in order to highlight the much-overlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands. While Bibilonis first solo releases on his Blau imprint have stronger echoes of the contemporary jazz fusion of the time, it is on the album known as Una Vida Llarga I Tranquila where Bibiloni really began to experiment with new sounds and technologies; fusing tape loops, drum computers and synthesizers. Taking these more electronic-infused works as a departure point for the compilation and drawing on material from across his following five albums, El Sur sets out to highlight Joan Bibilonis unique ambient fusion and sun-drenched Adriatic beach-boogie." - Music From Memory.

"During the "Every day I Nap" period The BIbs was a two peace guitar/drums both players doing vocals, sense have picked up a bass player, stripped down, Downer style ballads with a jangley touch. brings to mind early Chills with a slight 90s Columbus vibe think Ego Summit but somehow slower entering galaxie 500 zones of slow." -All Gone.

"Made during a time of uncertainty, where did drummer boy go? not even a telegram. a horse ride gone wrong... Waiting for Alex like everyday I nap, continues down a stripped down folk style path, but turns it up a notch acoustic based songs with 12 string leads, trumpet, organ, bass, harmonica, and recorder, lead the way into the shortest story. definitely a made for tape vibe here, all songs including a red krayola cover have and never will be done live. Drummer boy has returned to this house, look out for the bibs finale in the near future...." -All Gone.

"CD version, packaged in an identical mini-LP style gatefold cover with clear varnish overprinting and offset printed vellum insert. First pressing of 1,000 copies.
"Much anticipated proper full-length release from this wonderful Maine duo after a long running string of self-released CD-Rs and a collaborative 7-inch with Visitations. Colleen Kinsella and Caleb Mulkerin have been key personages of the Portland/South Portland sonic underground for over a decade, as members of Cerberus Shoal,Threads, Fire on Fire, etc. While those groups have no doubt left an impressive body of sound, the intimacy and directness of their Big Blood recordings take things to a higher plane of personal expression, freed from the group mind/serious band trapping of their past musical outlets. Here they are free to romp in their personal micro-verse, following whim and fantasy through the gates of acoustic transcendence. All of the off-the-cuff spontaneity, intimate home fidelity, and deep personal charms of their older releases are as present as ever, but the duos scope is now focused to a crystalline clarity of vision. Dead Songs is as sorrowful and joyful in its mirrored symmetry as the infinite life cycle itself, flowing on cleansing waves of inner release and spirit absorption...wailing fuzzed-up garage folk anthems mesh into twisted poetic acid-folk and drift to expansive melancholic meditations of boundless depth. Two voices howl, swoon, alternate and join; lyrical layers peel away endlessly, tiny amps weep in pain, crude percussion booms thunderous, and ragged, beautiful hooks unfurl straight out of the void." -Time-Lag

"Much anticipated proper full-length release from this wonderful Maine duo after a long running string of self-released CD-Rs and a collaborative 7-inch with Visitations. Colleen Kinsella and Caleb Mulkerin have been key personages of the Portland/South Portland sonic underground for over a decade, as members of Cerberus Shoal,Threads, Fire on Fire, etc. While those groups have no doubt left an impressive body of sound, the intimacy and directness of their Big Blood recordings take things to a higher plane of personal expression, freed from the group mind/serious band trapping of their past musical outlets. Here they are free to romp in their personal micro-verse, following whim and fantasy through the gates of acoustic transcendence. All of the off-the-cuff spontaneity, intimate home fidelity, and deep personal charms of their older releases are as present as ever, but the duos scope is now focused to a crystalline clarity of vision. Dead Songs is as sorrowful and joyful in its mirrored symmetry as the infinite life cycle itself, flowing on cleansing waves of inner release and spirit absorption...wailing fuzzed-up garage folk anthems mesh into twisted poetic acid-folk and drift to expansive melancholic meditations of boundless depth. Two voices howl, swoon, alternate and join; lyrical layers peel away endlessly, tiny amps weep in pain, crude percussion booms thunderous, and ragged, beautiful hooks unfurl straight out of the void. Packaged in a suitably gorgeous full-color heavy 60s style gatefold cover with clear varnish overprinting, Large offset printed vellum insert, full-color art labels, etc. Pressed on the highest quality 180 gram virgin vinyl. Limited edition of 700 copies." -Time-Lag

"This is only the second proper full-length LP by this Portland Maine-based duo, although there are vast arrays of CD-Rs and split releases littering their wake. After spending time with both the cosmically-shifting Cerberus Shoals and the folkily psychedelic Fire On Fire, Caleb Mukerin and Colleen Kinsella decided to opt for something more personal and hermetic. Thus, we have Big Blood. The bands multi-phasic discography has thus far reminded people of everything from the Pärson Sound to Opal to Portishead at different moments, yet none of these thumbnails comes close to capturing the elegant mystery of their essence. Sometimes electric guitar lines weevil hauntingly in the aether while acoustics strum quietly up front. At other points, muted chimes of freedom push against vocals and cloppety rhythms that recall White Noises "Making Love Without Sound." Still others vibe early Comus or The Third Ear Band. In all, the scent of smoke hangs as heavy over this record as any weve heard. And friend, weve heard a few. Edition of 500; includes download code." -Feeding Tube.

"Big Dipper Crashes on the Platinum Planet is the latest, and perhaps boldest, excursion into the perilous realm of Astronomy Pop by veteran
indie-rockers BIG DIPPER. Inspired by a triumphant reunion tour in support of Merge Records 2008 3-disc retrospective Supercluster: The Big Dipper Anthology, the band returned from the stratosphere with a stellar collection of brand new songs. Just a few weeks after touring, Big Dipper began recording the new material in GARY WALEIKs top-secret
Command Module studio. The album boasts cover art by Guided By Voices main-man ROB POLLARD, a huge Big Dipper fan (Pollard rates them the 20th
greatest band in rock history, #19 being T. Rex!). The recording line-up consists of guitarist/vocalist BILL GOFFRIER, drummer/vocalist JEFF OLIPHANT, late-era Dipper alum TOM BREWITT on bass and the
aforementioned vocalist/multi-instrumentalist/producer Waleik, with special guest appearances by Commander FRANK BORMAN and Command Module Pilot JIM LOVELL of the Apollo 8 Mission as well as some of the Dippers offspring. The discs 12 songs shimmer with Big Dippers trademark sound: twin vocals, ethereal harmonies, dynamic guitar arrangements by Goffrier and Waleik (dubbed by some a "two-headed guitar monster"),
Oliphants powerful drumming and Brewitts melodic bass playing. But longtime fans may also be surprised at how easily Dipper has stretched
its own boundaries." - Almost Ready.

"Second vinyl LP by this Brooklyn/Philadelphia trio, with guitarist Paco Cathcart (The Cradle, Sweet Baby Jesus, Shimmer) who has long worked in the studio with Palberta. The other players are Mac Kelly(Suspekt) and Hugo Stanley (Palm). Together they constitute a bizzaro world power trio, whose sound swings between the tenseness of math-rock and the aggressive slackness of bedroom experimentalism. Some of what they do reminds us of Fat Worm of Error at their most hardy, but thats just a part of the whole. What Big Neck Police create is almost a collage of textures as much as a suite of songs. But then, I suppose you could say the same of Mars. Amps buzz, drums clonk, guitars make noises like squirrels and vocals weave through the air as though they were wearing stirrups. Its enough to make you yearn for the days when they still raced horses on the ghetto streets of Philly. This is the sound of young gentlemen in a panic. Enjoy it at your leisure." - Byron Coley, 2016. Edition of 300.

"Kicking off the new OESB 7" series with a 4 track single by Big Troubles. International playboy Matt Mondanile (Real Estate, Ducktails) discovered Big Troubles and urged Olde English Spelling Bee to sign these guys on the spot for their fresh industrial shoegaze pop sound. Done and done. Features home recordings by Alex Craig and Ian Drennan who split songwriting and vocal duties down the middle. They are joined live by Luka Usmiani (No Demons Here) on bass and Sam Franklin (Fluffy Lumbers) on drums. Their debut full-length album, Worry, will be out on OESB in July." - Olde English Spelling Bee.

"Big Troubles are a duo based out of Ridgewood, NJ (home to Real Estate, Ducktails, Fluffy Lumbers, etc). Alex Craig and Ian Drennan started Big Troubles in the summer of 2009 after playing in many bands together since early adolescence. The songs on this EP were some of the first the band recorded that summer in Ians basement, surrounded by guitars, a multitude of pedals, a drum machine, and a 4-track. This 7" is a chunk of overwhelmingly woozy guitar pop that transcends the thinness of most lo-fi music of this era. Leading off the release is an alternate version of "Freudian Slips" that has been floating around the interweb over the past few months." - Blackburn. LP on Olde English Spelling Bee "soon"..

"The very premise of this musical -- executives borrowing an apartment to cheat on their wives -- makes this show entertainment for grown-ups. If youre cool with your older children being exposed to infidelity to the nth degree, they will likely enjoy the wit of the dialogue and the bouncy score. But take note: there is a suicide attempt and a drunk scene -- not exactly fare for young ones. Debut LP by Ridgewood, NJ shoegazers Big Troubles. Its pretty good. Parental advisory stickers not included." With glossy full-color insert and download coupon.
"This immense new album from Big Troubles follows on from a great four-song EP for the Olde English Spelling Bee singles club, featuring the New Jersey fuzz-pop project bejewelled with pop hooks and spurts of brain-scorching noise. Theres an abundance of blistering C86-style pop nuggets on here, from the distortion-surfing Bite Yr Tongue to the euphorically hooked-up Freudian Slips. Theres an overwhelmingly fizzy, treble-some recording style here which imbues the whole thing with a hazy, nostalgic quality that reminds us of everything from My Bloody Valentine to The Jesus and Mary Chain to Dinosaur Jr at their very peak -- making for one of the standout lo-fi pop records of the year bar none. Very highly recommended." - Boomkat.

"On Mono/Stereo, FRED BIGOTs early "Panasonic meets rockabilly" sides are compiled and sequenced such that you cant help but mistake it for a 21th century version of KLFs "Chill Out"-except the country and Elvis references have been replaced by things like the sounds of attack ships on fire off the shoulder of Orion and C-beams that glitter in the dark near the Tannhauser Gate. You know, shit youd read about in a Samuel Delany book or something. Culled from two 12-inches of murky, minimalist proto-Schaeffel-beat, this CD also features rare outtakes from the full spectrum of heaviness. T-Rex-like rock-groove head-nod decadence expands the notion of stereo separation so far that the Memorex dude on the couch would be reduced to a puddle of flesh. How do you explain this stuff? You cant-it was from the future." - Holy Mountain.

Bilders/Builders were Bill Direen and Allen Meek. "1981. Direen and Meek take it slow and easy, layering their brand of menace over solid foundations. As a duo they managed to extend the range The Bilders were known for, from the lyrical acoustic harmonies of America to the gothic psychopathy of Son of Cronos. Dub experiments on Strange Nights, subtle at first, end by discovering new territory, while the shimmering darkness of Dead Heat makes the EP complete. The original 7" was released in 1982 as a limited edition of 100 copies. A second pressing of unknown but small quantity was manufactured the same year with completely different sleeve design. All music has been carefully remastered to bring out its full brilliance. The screen printed sleeve is based on the original artwork of the rare first pressing. An additional insert includes extracts from Prototype Publications "The Uterus And Beyond" and "Slices Of Man"." - Unwucht.

"Heaps of noise and feedback, insistent arrhythmic pounding, and desperate hot screams coalesce into a textured, deeply layered wall of sound that is more compelling than any of its more-or-less revolting constituent parts on this new 7-inch by BILLY BAO. The concept behind the record is accumulation, as each track (uniformly 1 minute per track) adds an additional element--noise, voices, instruments. Accumulation is the engine of capitalism, and this record, which transforms accumulation into a sound, shows it to be as unpretty as one might expect. Perhaps the sound is meant to evoke the non-stop, bursting-at-the-seams chaos and disorder of Lagos, the place Billy tells us he began his journey. But of course no one, it is said, begins in Lagos; its a place where people end up. Its a city that accumulates people and detritus, or people as detritus. If Billy managed to escape, it was only physically--because judging by this record, his spirit remains in the clinking, scrounging fetters of the megapolis. Less metallic than the recent 10-inch, though still rather throbbing, this 7-inch is one of those uncommon records that you put on either to start or end a party, depending on what kind of party it is. Obscure referents: Demo-Moe, Z, Church Police, Agonia, SPK, Doden."--Stuart Schrader

"The first full-length offering from BILLY BAO. Born and raised on the unstable streets of Lagos, Nigeria before relocating to the alleyways of a then-recently freed Bilboa, Spain, Billy Bao is a rough, dangerous, borderline example of societys woes turned against itself, of cultural repression made flesh, as it foments into a madness both gleeful and destructive. Befriended by world-renowned noise guitarist MATTIN, the two men formed a personal alliance through the community of punk rock and the blunt-force politics therein. Every musical action Bao makes is a statement of political and personal intent, of the persecution that boils within him, and yet, across his previous releases any notions of political punk rock of the tired, insipid Anglicized version are brutally choked out. Mattins musical backdrops swing with the force of Baos vocal delivery to rattling, devastating effect." - Parts Unknown.

“Munster Records, Billy Bao, and Night School Records present Lagos Sessions, featuring Billy Bao,Ambido, Diana Bada, Duro Ikujenyo, Mark Ido,Oduyomi Isaiah Oluseye, Joel Isioma Okoh,Orlando Julius, Mendo, and Emeka Ogboh. Presented in gatefold sleeve with liner notes by Kunle Tejuoso and Ed Emeka Keazor. "Experimental; Conceptual? Thats what these sort of things are usually called, when references are anything but immediate: in the feeling, hearing, and seeing, especially by many. Even more troubling, when the accustomed in us gets ajar... We lack articulation of the seemingly unfamiliar! Even at that, I think the most charitable review of this live electronic exploration will suggest the four sections bordering on insanity. How else? Even when not a few self-styled patriots were booking their flights out of the country, with an election looming to signal the end of a nation, and a band of modern day faith-heads detonating grenades in every other street corner, two dreamers swim against the currents and sneak through the lagoon into the country collecting inputs of derelict art; of garbage can noise; of hooting; honking horns on screeching brakes squelching tar; rackety generator booms? For an imagined program! Whats that? Who, what do these doods think theyre doing with Lagos?! Ill call it rebirth. That simple. How to find a centre here? The output? The hum-drum of the streets daily accent compels the sense of the immediate, the terrestrial; and then those primitive, primeval-seeming echoes of the earliest beginnings of the big bang and its wavesound simultaneously releasing Sun Ras reverb sensation of end time! This should not be danceable but these guys are suggesting the possibility of rhythm in the inchoate. Believe me, you cant miss the Lagos Faaji, Sakara flow, Awurebe, Afrobeat slices; its jazz, highlife/Euro-Afro funk/rock/rap and seedy night echoes too. But in their otherworldly dimension. No matter the accolades, I will encourage a therapy of some sorts to the creators of this production." --Sola Olorunyomi(poet, bassist, co-editor of Glendora Review) & Kunle Tejuoso, Jazzhole, Lagos.

"The Nigerian monstrosity that is Billy Bao returns in agony. Bleeding. Pointing a colossal black finger at global capitalism, regular music, non-music and anti-music, at the food crisis of 2008, the moribund spirit of 1968, and especially at you, the record buyer, who maybe "really dug" his first LP, Dialectics of Shit, and will come back for more, or perhaps "heard a lot about him" and his bandmate Mattin in the "blogosphere" or even in print media (ooh!) (whatever that is), and are "curious to finally hear his music" because you find the stories "interesting" and this is even heavier and more fucked up than The Brainbombs at their heaviest and most fuckeduppednest, and you "get it," right? Yeah! Or wait, let me guess, you got the record for free along with this press release because youre an influential but too-modest-to-admit-it journalist or music critic or program director and so far youve had something to say about Billy, or not, and this is a wonderful opportunity for you to comment upon the work of someone whose primary subject is his own work, so that you can enter into a "dialogue" with "him," or maybe "introduce new audiences" -- maybe even some "kids"! Hooray for the kids! -- to some "awesome" new sounds that "engage the listener in a perceptual tug of war, a struggle to make sense of the unnatural experience of playing audience member to someone elses performer" -- or even better, outsmart Billy, outsmart this record, and call it out as bullshit or play along and pretend that youre in on some "joke" that, lets be honest, you sometimes suspect you dont really get yourself. It dont matter! Were all human beings here, except for those of us who arent, and none of us is more human than Billy. What matters is the way Alberto Lopez pounds the drums, the way Xabier Erkizia rips up the guitar, Mattin and Xabis computer dicking, and Billy right in the middle of it, channeling a desperation so total its embarrassing. This LP is so angry the songs dont even have titles. Some of em are really long, some are really short, but theyre all pretty goddamn infuriating, as they oughta be. The Dialectics of Shit LP and the Accumulation 7" didnt go out of print as quickly as any of us would have hoped, but at least the 10" on SS and the seminal and almost-legendary Bilbos Incinerator EP that started everyone puckering their cornholes are now almost impossible to get. May 08 is actually surprising, which is pretty goddamn surprising, because where do you go after those first four platters, honestly? Well, fuck, you make a record thats somehow noisier than all of those, more tweaked and fucked-with and digitally distorted than anything before it, crammed with grotesque and sublime samples from the noise of yesteryear: Nono, Kuti, Whitehouse, Brainbombs, and Billy, Billy Bao. What? What do you want? Look at the kindsa shit people said about Bilbos Incinerator: "Nigerias answer to Stickmen With Rayguns-era Bobby Soxx -- abhorrent pummeling scuzzrock that is [...]extremely harrowing." -Art for Spastics "He might not wallow in the same cesspool as Bobby Soxx, but Billy Bao has the shine." -Siltblog "Billy Bao is identical to Bobby Soxx of Stickmen With Rayguns in every conceivable way." - Acapulco Dance Party "Punishingly prescient. Vocals sound like the second coming of Kickboy Face, and this as a whole comes off as a terrifyingly real example of what human beings are capable of if pushed far enough. The real world equivalent to the Pissed Jeans 7�?�. An important record." - Dusted Magazine Wow!!! Punishingly prescient!!! Important!!! And whattabout Dialectics of Shit? That one came out on Parts Unkown too! "One heckuva magnificent achievement. " -The Wire "Difficult and entertaining, there is nothing here that would ever be mistaken for easy listening. Punk + experimental + challenging what you think an album should sound like." - Scott Sorianos Webtoons "When Billy Bao isnt making me blow nonexistent fluff off my needle, theyre swamping my stereo with a sickly twenty-generations-removed blues vomit. Its violently dissociative in the most life-affirming way." - Z-Gun It should be pretty goddamn clear to you why you want and need to purchase this record. If you dont care about "enjoying" May 08 the way the artists "intended," go download the music for free and completely miss out on the experience of listening to this record on your turntable in "glorious" analogue sound while fixing your gaze on the epic violence of Billys 12 x 12 cover artwork. Dont play this record if you dont want to." - Parts Unknown.

"Sacrilege is a collection of 2007 vinyl releases from bleak noise combo BILLY BAO. Includes the tracks from the Accumulation 7-inch, the Fuck Separation 10-inch and the Dialectics of Shit LP. Packaged in sandpaper and duct tape, just cuz. Imported from Australia." -Afterburn.

2010 release. "Urban Disease is the new radical work by Billy Bao, Mattin, Taku Unami, Tim Barnes, Barry Weisblat and Margarida Garcia.
Its important to remember that before Mattin and anarchism ruined his life, Billy Bao was a bit of a troubadour who accompanied himself on acoustic guitar and warbled wild songs of protest in his native Nigerian patois. This new album, his third on vinyl, finds Billy in a transitional phase toward the end of 2006, before the gaztetxes of Bilbao burrowed into his marrow, before Mattin became the Merle to his G.G., before Billy turned into herpes sore in the mouth of global capitalism.
"Billy doesnt believe in hypnagogia," were told, "because he always sleeps with one eye open, and when he dreams, all he sees is AIDS denialists, German shepherds, and soldiers disguised as UN peacekeepers." Before Taku Unami fucked it up, this session found Bao relaxed and in high spirits as he conducted a pickup band of itinerant improvisers through a song-by-song cover of Amon Düüls Psychedelic Underground. Margarida Garcia lent her astounding skill and highly personal idiom on the electric double-bass, in her hands an instrument with the tension of string on wood and the disruptive potential of a crackle box. Barry Weisblat, meanwhile, teased out a century of drone from a Cornell lunchbox of filament and circuitry. Who better to play drums and percussion than the sainted Tim Barnes? Mattin, thumb and forefinger compulsively pinching or stroking his Hitler mustache after every take, funneled Billys malaise through laptop, percussion, and folk instrumentation. There was even, astonishingly, a womens choir on hand, eerily filling out the atmosphere with wordless vocals and incantations. But this is after, and the result is a fragmentary, extremely loud hippie jam session punctuated by stretches of uneasy silence and scrape.
The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a silk screened pvc sleeve with original artwork by New York artist HENRY FLYNT." - Pan.

"Lajaville revisited: The Billy Boys music is for the visionaries, imagists, symbolists, outsiders and lowbrow. It will survive all the trends. Its in the world but out of this world. Somehow futuristic yet primitive. Lajas eerie and nervous mumble is like a horror version of the late Vince Taylor locked up in a psych ward. This ultra minimalistic electrobilly is backed with a static, almost stoic, beat and its rumbling through the concrete jungle in a shiny black speedoplane heading for tomorrow-land in a silver neon rain. Theres messed up Elvis in his smoking hot blue jumpsuit munching away double cheese burgers with RC Cola. Theres tough looking ladies in latex uniforms and spike heels breathing heavily through their gasmasks. Theres former Finnish President Kekkonen. Bald head gleaming and hes receiving crazy visions behind his big square glasses. Trains, cadillacs, speed. Fingers tapping the leather bound steering wheel. Rural landscape and icy rivers. Nightmares in heat. Homeros would be proud. Tears in the eye of a lonesome man. Future now." - Makke Luojus / 2010AD. Never released, mid-80s solo recordings from Laja Aijala of Finnish hardcore legends Terveet Kadet, as well as Bad Vugums Leo Bugariloves. Weird homemade Suicide/minimal rockabilly electronics. Already out of print with most copies being sold in Finland.

"125 original records from 1983 with a numbered, limited edition silkscreened jacket. Further artpop adventures from the post-Homosexuals / This Heat / Rock in Opposition squats – in exile.... A 1981 junket to Barcelona found Bing Selfish, Amos a/k/a Jim Whelton, Chris Gray, Rob Storey, and Milk From Cheltenham recording three tracks for a compilation LP, Domestic Sampler - UMYU, alongside the once-and-future stars of the Barcelona underground. Bing and Joe Torres (a/k/a Victor Lounge of Milk From Cheltenham) stayed on, and a few months later welcomed back Rob, Chris and Rodrigo Lodwick to tape an Amos & Sara LP. The only recordings to come of this adventure, however, were the five Bing Selfish-led tracks on Selfish Works. The 12" features those in boldface above, plus Rita Chuli (who married Lepke Buchwalter and had a cassette on her own), Gabriel – who’d played sax on the MfC track for UMYU, and Enric Villalba (a/k/a Victor Nubla), one of the locals whod helped organize UMYU. Selfish Works was pressed back in London through Robs Noise Method label, although its officially on Bings own El Frenzy imprint. Hardcore Messthetics/D.I.Y. fans will appreciate that most of the songs are introduced by fragments from the traditional Spanish music tape reels over which they were recording… As with the Hot Club Murphy 12", the original jackets were screened as needed: two basic designs were used, and both were modified as the screens degenerated. The "new" screened jacket combines both designs, adding a proper track-list and, for the first time, personnel-credits. (Cover #1 had ten small drawings on a hand-colored paste-on; version #2 had a drawing of Bing. On the back both featured an enigmatic story that loosely incorporated the song-titles, but no other info...)." - Hyped to Death.

"Minimalist music for human holograms and living statues. An all analog synth affair made mechanical by tape delay loop rhythms. Cut live straight from source. Not too far from the loner synth chamber music of Mark Anthony Heide or the early 80s home taper compositions on the ICR label... 100 pro printed and dubbed cassettes, black shells with white printing on the tape." - Future Sound Index. Latest from Matt Mondaniles (Ducktails/Real Estate) label.

"LP version, featuring an exclusive vinyl-only track. Full-color printed innersleeve; limited to 500 copies. The BioMechanica project marks the first collaboration between Francisco López and Arturo Lanz (founder and member of the current Esplendor Geométrico tandem) after thirty years of an ongoing relationship. Their debut album, BM-01, is the outcome of years of intense work in multiple cities across the world, from Beijing to Reykjavik all the way to Johannesburg. Raw power and original rhythms, together with an overwhelming sound complexity, a multi-channel spatial virtuality and a spectacular production come together in BioMechanica, synthesizing the insight and experience of two internationally acclaimed industrial/experimental music makers." -Geometrik.

"After 5 years of extensive and careful work, the new and much anticipated CD by this extraordinary collective, who have no parallels, no rivals and no peers, is at last complete. Its a dense and indescribable orchestration of electric and acoustic guitars, clavioline, trumpet, Hammond organ, micromoog, biolmellodrone, electric and acoustic violins, bass, mandolin, accordion, piano, rubab, kit percussion and sometimes voice, layered and radically processed in the unique Biota manner. There is a leitmotif of folk elements in this piece that emerge from the roiling, swirling quicksand of sound we now expect from Biota, with texts by WB Yeats and snatches, arrangements and influences floating by way of Christy Moore, June Tabor, Judy Collins, Sandy Denny, Bert Jansch, the Bothy Band and older traditional sources. Biota craft sonic worlds that relate to, but are not built like, the music with which we are familiar; for them time is a continuum rather than a sequence of events; a simultaneous present in which past and future possibilities exist conterminously. With a 24 page full colour art portfolio from the Biota collective." - Recommended.

"Six years in the making, this is the sixth CD released by ReR from the visual/sonic art group Biota. Unique in their history and method, Biota painstakingly construct complex, organic structures that mix extensive studio processing and musique concrète techniques, with a highly eclectic orchestra of acoustic and electronic resources: from kit drums, through medieval winds, strings and barrel organs, to early experimental electronic instruments. Their works are always performance driven and interleaved with successive stages of lamination, imbrication of parts, and radical pre- and post-processing. As the title suggests, in this new work a portion of a cycle -- a repeating segment of time -- is explored. We employed repeating and overlapping motifs of different lengths, allowing their staggered interaction to produce varying degrees of harmonization, dissonance, masking and reinforcement. Unpredictability of outcome was furthered by electronic processing -- both manual and automated, random and predetermined -- and by the appearance, taken out of context, of unrelated passages taken from earlier projects. Real-time performers had to interact with this instability as they constructed their contributions, and later as they gave form to the final composition. Although there are elements of chance at work in the process, the eventual architecture is intentional, and carefully worked. Mixing was done by hand and without the aid of computers, then the composition was assembled and integrated digitally. --William Sharp, Biota. The interaction of staggered, overlapping elements reveals a changeable truth about the whole as the parts variously harmonize or dissent; reinforce or cloak one another in their unfolding. The project is, at heart, about uncertainty. Players encounter the shifting interplay between previously recorded parts juxtaposed with instrumental snippets -- out of context -- introduced from the groups archives. Electronic processing programs are employed to apply semi-random and semi-intentional alterations to the proceedings." - Recommended

"Biota was founded in 1979 in Fort Collins, Colorado, as the Mnemonist Orchestra. Over the years, the Mnemonist Orchestra developed into Biota (the musical contingent) and Mnemonists (the visual contingent). Both Biota and Mnemonists work as one on productions of musical and visual components. The group has released nine LPs, one EP, and four CDs on both their own Dys label and Recommended Records UK. Heard on this CD is the first adaption of their studio-based recording techniques since 1981, as presented at Montreal Musiques Actuelles -- New Music America 1990. For their live performance they composed a set of material specifically for the concert and virtually relocated their studio to the stage to properly recreate it. Nine musicians playing only acoustic instruments (aside from electric guitar) were heard natural and unamplified from the stage while extensive electronic processing, heard through the speakers, rendered radical tonal, timbral and temporal modification creating an incredibly unique and strange sound world. Added to this, the two-dimensional graphic work that Mnenomists have become so renowned for was transformed into stunning video projections -- beautiful examples of which are now included in the full color booklet accompanying this CD." - Anomalous. Highly recommended!

"...deep-fried one-man-against-the-cosmos synth-automaton gunk from the distant us midwest (specifically; bloomington, indiana) of the early 70s, initially released on/by the custom fidelity recordslabel/plant... starts out with the absolutely piercing high tones/clarion call of music of the spheres after which we become the (un)willing passengers on dr. steven t. birchalls mind-trip excelsior, passing through several key lobes of the beyond before zeroing in on the cranial lump responsible for, amongst other things, time itself...
...but dont take my word for it; no less an authority on the xian psych/synth-dude crossroads than graveyard / wolf eye john olson (in response to the oeuvre(s) of mr.s birchall & nik pascal raicevic - more about him in due time) hath decreed:
...unbelievable jaw destroying dude with problems & synths lp that are in their own frozen universe. something about deranged synth damage through the jokey-gimmicky electronics make for a slightly melodic less academic and avant folk real people iron forest jam every more unsettling. done right and done strange and individual these social misfits with cracked circus gear really drive the mad home to trance mediations & rhythmic hammers of swamp glue to truly cracked musics. upon millions of listening,, there is an approach & depth to this that stands more honest & direct than more serious electronic musics. this could be the ramleh & k. mizutanis of the mid 70s? true psychosis. few and far between but the payoff is a lifetime of mutant brain waves.
certainly a neglected outsider-electronics classic, once again made audible/tangible, our lives made just that much more worth living by mr. p.c. c.p." - Creel Pone.

"Two sides of total existential rebirth! Placental for you and bird by snow, a 7 inch baby of the cosmos, belching new sounds, and visions. Replete with new-metal guitar tones, falsetto cave paintings, and gasoline-riot guitar solos (think Blue Cheer in Thunderdome). Begging the question what is paradise? A waterfall? Or a burning sky-scraper? Each cover is hand printed from a linoleum block by bird by snow, at no extra cost to you. Limited to 300." - Gnome Life.

"To you, children of the Zeitgeist, we give ⿿Sky,⿝ offered in the same generous spirit as this bountiful world itself. Ten songs of reggae-infused, psychedelic, folk music. Existentialism you can dance to! Open-hearted sound-fields, vast and colored with tiny blue-grass orchestras, authentic Dub banjo, black cloud back-beats, and (if you can believe it) California Soukous guitar! Open eyes wide, and take in ⿿Sky,⿝ bird by snows outrageously lush follow-up LP. Cloudy or clear, day or night, let us be absorbed in the one-always-giving moment, and know the sky not as vacuous hole, but as container (whole). Limited to 300, on beautiful tranparent-blue vinyl. Hand silk-screened gold covers, with a lovely hand-made booklet too." - Gnome Life.

"Bird Show Band documents Bird Shows new collaborative spirit and stands as the culmination of Ben Vidas Chicago-based work, featuring a whos who of the citys improvisational luminaries, including Josh Abrams, Jim Baker, Dan Bitney and John Herndon. The improvisatory feel of the Bird Show Band sessions function as Vidas paean to the Windy City. Rather than another Bird Show release that involves guest accompaniment on select tracks, Vida conceived of these recordings as a foray into session playing, tracking the entire album over just two days. While Herndon and Bitneys percussion invokes German psych, progressive rock, and jazz idioms, Vidas synth-based experiments, here accompanied by Jim Bakers ARP 2600, provide the first indication of his recent musical preoccupations, an interest that relies heavily on the Moog and his own fluid, lyrical melodic lines. If you have had the luck of catching Bird Show or Ben Vida perform live over the last few years, you have witnessed the centrality he now gives to the Moog and one-touch patchwork, experimental forays that point to Europe and the mid-century avant-garde, especially the Cologne-based innovations of Stockhausen and his many students during the late 1960s and early 1970s. Regardless of this description, Bird Show Band is more than a mere intellectual exercise and the sessions balance brain with musical brawn in ways that Vida has yet to achieve on his previous outings." - Amish.

Artist: BIRDS OF DELAY
Title: A Living Room At The Bottom Of A Lake
Format: LP
Label: Nashazphone
Country: Egypt
Price: $29.00

"Birds Of Delay is a Leeds duo whose first half lives in London (and loves Whitehouse and Rush) and the other in Berlin (and loves Farley Jackmaster Funk). With several releases on labels such as Chocolate Monk, American Tapes, Troniks, Hospital Productions, or their own: Alcoholic Narcolepsy, Luke and Steven have been crafting and sculpting their psychedelic-electronic-noise-drone sound for over half a decade. But who cares and what does that sound description mean anyway? If you ask them, theyll simply tell you A Living Room At The Bottom Of A Lake is a projection into a TOTAL RAINBOW BLISS zone! Edition of 240 copies." -Nashazphone.

"Beneath the mounds of tape loops and vocal séance rests the human forms of Luke Younger and Steven Warwick aka Birds Of Delay. "Live From Mind Avalanche" is a particularly deep work. It sounds as though it was recorded live on the wing of a flying plane or at the top of some epicly huge mountain in India. Frozen delays and deprived electronics ache for freedom from desolate captivity. Drowned static screeching into an abyss of grey tumbles down the side of a snow slicked slope. Icy smoke envelops whatever remains. In a numbered edition of 90 sprayed/stamped tapes with art by the band." - Arbor

"UK burnouts are always reliable to bum your last smoke, hitch a ride or crash on you couch. If you havent decided what to do in 07 these guys have great ideas. Check this new "hands-off" electronics approach. Cover painting by Alivia Zivich." - AA Records.

"youll have to run thru a intense long brown tunnel before arriving at the best butcher in town! hell cut your meat down to pure droned filet americain or preparé from the chef! bears and bowie lookalikes are huge fans, as this bird butcher sliced many famous animals since a young age. he grew from playing cards in the bar with the big nuts via pinching fags in the parc to a full blown fine line worker!
spin him around and you get a conceptual artpiece, back to the old skool game of throwing cards on a table! poetics re-invented by dolle smurfen repeating the same word over and over again, until you eventually get it and snap, which usually takes a while. a perfect summer bummer for boiling brains and unusual double pleasure! classic tones, properly sliced feathers, and intense poetics.
comes in a metalic green cover design of a spit and ink painting by d tyfus.
limited to 300 copies" - Ultra Eczema.

"a long time in the works this rotting jewel of electronic drone finally births. jazzfinger has been operating under the radar for longer than most might think and exhibit boxes of butterflys pined to a board, a black globe of the black sea, the tail of a scorpion in the narrow hallway of lost information. birds of delay arrive with am ominous loop roving around a little to slow for comfort as if a machine could have an astral projection. very limited edition of 114 copies in handmade cover. " - Hospital.

"Though the game mighta changed round em, the three years since Ready to Howl aint diminished Birds of Maya one ounce (or do they measure in...grams?). You can tell right away on Celebration, cuz its just as stupefying to describe as every other moment theyve put down. Why is that? Seems so simple! But ya get near pronouncements like "Free or The Groundhogs as seen in the busted mirror mosaic of Japanese underground psych" and a lil balloon of acid anxiety busts in yer gut. Insufficient. This aint just about shred and dread; this is about sweat and spit and busted bottles. This is about volume--meaning both quantity AND decibels. It takes a lot for many of us to sit still for side-long live tracks, so I suggest you dethrone that ass and break some valuables when the evil busts start rollin out like smoke from Sleeps van; its only natural. And dont fear the "TV Eye" cover, neither, cuz it surely made me forget the last 67 beef-witted versions Id heard. Course, theres so much snarl all over this thing, Im surprised the mic aint slumped in the corner, nursing an ulcer, by the end.
Another fetid feather in Phillys cap. Dressed in hand-painted sleeves, itll make all the records you file it next to cooler via osmotic paint flakes." -
- Sebastian Morris-White, Buffet of Loathsome.

"Shred, dread, sweat, spit and busted bottles from the city of brotherly scuz. "Theres so much snarl all over this thing," marvels Buffet of Loathsome, "Im surprised the mic aint slumped in the corner, nursing an ulcer.... [Insufficient] pronouncements like Free or The Groundhogs as seen in the busted-mirror mosaic of Japanese underground psych [bust] a lil balloon of acid anxiety ... in yer gut." - Little Big Chief. Limited repress.

"Here it is. Its the most ambitious TestosterTunes release to date: a three-song, double-LP by the three men of Philadelphias BIRDS OF MAYA. Its called Ready To Howl and its the soundtrack to an upcoming feature length film of the same name. Formed in 2002, Birds of Maya is the finest meat n potatoes Neanderthal rock group operating today, and theyre undoubtedly the outfit most committed to creating throbbing, thoroughly relentless, blues-based hard rock. Astute listeners will note nods to the fried power-rock of Split-era Groundhogs or the relentless garage mayhem of High Rise recorded under claustrophobic sub-Funhouse decadence. Anyone with ears will hear fried-Hendrixisms all over this thing." - Richie.

"Not ones to usually hit the road, Birds of Maya stormed the Midwest in May, and if you checked their merch table, this limited and unassuming little single was probably laying right next to Ready to Howl. ⿿Regulation⿝ is a heavy blues jam in the classic Birds of Maya style, but its special in that local man-about-town Harmonica Dan sits in on their session (Ill give you one guess what he plays). Dan doesnt mess around, he just takes off his backpack, cracks open a tallboy and blows harder than an office fan, psychically connected to Birds of Maya and the bluesy groove they stand for. Its pretty smoking and serves as an excellent petition to recruit him as a full-time member. The untitled b-side is sweet (a nice pairing to the savory a-side), starting off with some psychedelic swirl and guitar noodling, almost veering into art-drone territory (not that its a bad thing), but just as Im ready to put on my Keiji Haino wig and smoke a clove, it kicks right back into a standard Birds of Maya stoner riff with Harmonica Dan riding the rails once more. Not sure how easy this 7? will be to find, if it was tour-only or what, but please, make it your mission." - Richie.

"Its been said that Volume 1 is possibly the best rock release to come out of Philadelphia ever. While low on recording budget, attitude and pretension, BIRDS OF MAYA is high on stolen riffs and an energetic execution seldom seen outside of a Sunday ruling by Seamus McCaffery. Whether they are mangling riffs or stepping way out for fried boogie solos Birds of Maya oozes a dark chunky sludge with elements from all the colors of the classic rock rainbow. Do they really sound like "a GG Allin demo played through a megaphone?" Its a fair description and its certainly colorful, but it leaves out an awful lot. They are loud and they are chaotic, but they have way more groove than GG Allin could have ever imagined." - Holy Mountain"Birds of Maya did what countless garage rock geeks try and fail at: dust off 1968 and bring it back to life without making it look like museum piece. Bringing on the best of 60s power trios like Hendrix and Cream, a whiff of Blue Cheers bongwater, Black Sabbaths bass heavy paranoia, and Stooges bum-out, they were sloppy in all the right places. The jamming never got tired and held everyones rapt attention." -phawker.com

“Have you ever imagined what a meeting between the Silver Apples and Sonny Sharrock would sound like? In 1974, Jean-Jacques Birgé, one of the first French synthesizer players (ARP 2600) along with Francis Gorgé, virtuoso guitarist, created some unique improvised pop music. The unreleased and flamboyant recordings featured on Avant Toute would be the source for the cult 1975 Défense de album by Birgé, Gorgé, Shiroc before founding Un Drame Musical Instantané with Bernard Vitet. Limited edition of 700 black & white vinyl. 350 gram sleeve. Obi Strip. Insert with photos and liner notes by Jean-Jacques Birgé & Francis Gorgé.” - Souffle Continu.

2 discs, one CD, one DVD. First ever reissue of this cult album from 1975, on the famous Nurse With Wound List! "Jean-Jacques Birge and Francis Gorge began to play together in 1970 and produced the first rock concert of their high school, at LycŽe Claude Bernard in Paris. Gorge was composing the music and playing the guitar, Birge was writing the words and singing.
Defense de was their first album, before founding Un Drame Musical Instantane, in 1976, with Bernard Vitet. Two bonus tracks were intended to be index 2 and 4 before Birge and Gorge met Shiroc a few weeks later. These two tracks were replaced with new tracks recorded with Shiroc and so they were forgotten until today.
The four initial pieces were recorded in the family apartment of Sebastien Bernard, a free jazz producer, where his father kept a lot of beautiful instruments (a pipe organ, an electric piano, a xylophone, a cello, etc.) and a 8-track tape recorder. Antoine Duvernet, another schoolmate who was playing with Urban Sax at that time, passed by on a sunny afternoon and added the tenor sax parts. The two new pieces with Shiroc and Bucchi were recorded live in studio four months later. During the following year, Birge and Gorge played a lot of concerts as a trio with Shiroc, and sometimes as a quartet with Gilles Rollet (also on percussion). All their repertoire was recorded and it will be included on the DVD as June Sessions (Over 6 hours of music). Over the years, the LP Defense de became a cult object people would buy a fortune, as well as appearing on the Nurse With Wound famous holly recordings list. So we are very pleased to have it finally available as a CD, specially with the four previously un-issued bonus tracks which were discovered recently in the Drames archives. The band took it from this point to become Un Drame Musical Instantane. Un D.M.I (in short) who is considered to be one of the top avant-garde / experimental acts ever to emerge from France and the entire world as well.
The audio CD will include the complete Defense De LP plus 4 bonus tracks (approx 80 minutes of music in total). The DVD will include the experimental movie La Nuit Du Phoque made by Jean-Jacques Birge and Bernard Mollerat in 1974. The movie is a mix between avant-garde French movie and experimental ambience which takes the viewer back in time to 1974. The second part of the DVD will include June Sessions which are very long pieces made by the trio (or quartet at times). Total of about 7 hours of music and 40 minutes movie in a double CD & DVD set." - MIO.

"First ever vinyl reissue of this cult album from 1975. Défense de was the first album of Jean-Jacques Birgé and Francis Gorgé, before founding Un Drame Musical Instantane with Bernard Vitet in 1976. They had started to play together while at high school, and on their debut LP they were joined by percussionist Shiroc (who also played in Speed Limit).
The albums four tracks were recorded in the family apartment of free jazz producer Sebastien Bernard, who had several nice instruments belonging to his father, like a pipe organ, an electric piano, a xylophone and a cello, a.o. The songs were taped on an 8-track recorder and also feature Antoine Duvernet from Urban Sax, who added tenor sax. Shiroc and pianist Jean-Louis Bucchi (also from Speed Limit) joined the duo some months later and the songs they feature in were recorded live in studio.
Birgé and Gorgé gigged as a trio with Shiroc, sometimes with the addition of Gilles Rollet on further percussion. The resulting sounds were released on the June Sessions DVD (included as a free bonus on this LP). Along with June Sessions the DVD also contains La nuit du phoque, an experimental avant-garde movie made by Birgé and Bernard Mollerat in 1974.
Défense de has become a cult LP that sells for a small fortune, especially since its interest as a landmark of early French avantgarde/experimental/synth music was noted on the famous Nurse With Wound list. Fauni Gena brings this legendary piece of musical history back to vinyl life on a top class reissue that comes complete with liner notes written by Jean-Jacques Birgé himself, plus the bonus DVD including almost six hours of extra music and videos." -Fauni Gena.

"With the western worlds recent access to the Ethiopian music of the 1970s, the focus has been almost solely on the Amhara music of Addis Ababa. The Oromo people, the largest ethnic group, hasnt been equally represented. Ali Birra, the biggest Oromo star and a hero to his people was so beloved that he did break into the Amhara dominated record market. Learning how to play the guitar using the tuning for an oud, the sound is as much Arabic as Ethiopian. After two years singing in the Imperial Body Guard Band alongside Mahmoud Ahmed and Tilahun Gessesse, and a brief hiatus from music, he made these recordings backed up by the Aduu Birra Band. With a prevalent joy and catchy sing along style, Ali sings songs of love, misery, and beating the oppressor. Comes with liner notes and translations of the lyrics from Oromo to English, housed in a tip-on sleeve. A co-release of Domino Sound and Mississippi/Little Axe." -Little Axe.

"Bruiser and Kid,
separated physically (not emotionally) by about ten feet in the shadowz of Schooner
Cove, lay down the first vinyl outing by this "wives at work = the boyz will
jam" afternoon electronic harsh noise project. The upcoming BR lp on Troniks wa
s threatened not to be cut by the mastering dude due to horrible clean tones,
and you tell on this they were struggling as well. Black hole sound, terrible
textures. Ruff & Raw. Color wax, color cover, lock groove, and tape collab CD
round this mutha out. Edition of 200." - American Tapes.

"Duo of Connelly and Olson return to wax with more pieces to the puzzle. Organ, reeds, and percussion phase in and out on dirt roads. Empty holes in the desert. For when the dust takes hold. Strange and arcane music. RIYL: Pannalal Ghosh, Roberto Bolano, Mercury Dance Band." - Gods of Tundra. Edition of 100.

"during the last euro tour of WOLF EYES, john olson (of american tapes,
spykes, guam river etc..) and mike connelly (of gods of tundra, hair police,
failing lights etc..) decided it was enough! they screamed "IM NOT GOING TO
BED!!! I NEVER WANNE SLEEP AGAIN!!!", they missed their flights and stayed
in antwerp with the ultra audiobored horror crew for 7 more weeks without
food and drinks, just dry weed and cancerbags to suck on! after that intense
test to see if they could adapt to the antwerp life style, they finally met
up with legendary belgian eccentric cacti and hat collector CASSIS CORNUTA,
this psychadelic caracter brought his whole space synth and tape lab over to
radio centraal to record an intense last gasp jam with the hardly breathing
olson and connelly, the end result is an amazing trip to space and back to
the mental hospital! like pouring lighter fluid and tabasco up your genitals
or like olson states it so beautifully; like pissing on your own hand,
freezing it and then using it as a lollypop for 5 days!
comes in a gross 6 panel cover design and with an etch on the b side!" - Ultra Eczema.

"This CD is the first in a series from Sir Richard Bishop & W. David Oliphant. It was composed and recorded live in the studio in Phoenix, AZ in December of 2011. The sonic landscapes presented here find their origins in Tibet, and are heavily inspired by Tibetan Buddhism -- specifically the body of teachings known as Dzogchen. Many of the musical ideas for this project were literally derived from dreams the night before they were created. The remaining ideas were formed centuries ago. Sir Richard Bishop plays acoustic guitar throughout. Often detuned, bowed, and beaten, the guitar was "treated" by Oliphant during the live recording process. SRB also provided audio from field recordings he captured in India. WDO used a variety of computer software with a midi controller to create all the other sounds. All tracks were captured in real-time, direct to disk." - Chodpa Media.

"Official DVD release of Sir Richard Bishops cracked movie God Damn Religion. First edition comes with a bonus audio CD of the quasi soundtrack Elektronika Demonika, originally issued by Locust as a vinyl-only escapade in 2006. For centuries, man has used organized religion to control the hearts and minds (not to mention the pocketbooks) of the ignorant masses. Well, Richard Bishop has decided he would like a piece of the action. This film is a diabolical experiment in hypnotic mind control - a phantasmagoric presentation of demonic and divine imagery, meticulously assembled and designed to put the viewer into an altered state of darkened awareness. Includes original music from Elektronika Demonika, as well as unreleased material. If you ever wanted to go to hell and back, this film will get you halfway there. Some viewers may find the imagery used in this film to be disturbing, but thats the idea. Contains some strong sexual content (as all true religion should). Not for the weak-minded, faint of heart, or those suffering from occasional seizures." DVD is NTSC format, probably region free."- Locust

"A full LP of brand new instrumental material (organ and electric guitar) by your favorite bearded, genre-defying badass." - Social Music. 2010 release originally part of the Social Music subscription series.